John A. Sloboda

The Cognitive Psychology of Music (Oxford Psychology Series, No. 5)

The Musical Mind

the cognitiv psychology of music

The musical mind

Irène Deliège

From where, and by what mechanisms, does an individual's musical ability originate? This is a subject of major interest both to developmental and music psychologists, heightened by the recent research into prenatal perception of sound. This timely volume brings together authoritative reviewson central issues, beginning with prenatal auditory experience, through infancy and early childhood. The chapters chart the developmental progress with reference to the child's changing environment: from the uterus, through the intense and semi-exclusive mother-baby bond, to the wider contextsprovided by the family, school, and society at large. The book provides the most up-to-date integration of developmental and music psychology.

Origins and Development of Musical Competence

Musical Beginnings

Jane Davidson

Music and the Mind brings together an outstanding, international team of authorities from the fields of music and psychology, to celebrate the life and work of John Sloboda. In addition the book reviews and takes stock of where the field of music psychology stands 25 years after Sloboda's classic work 'The Musical Mind' first appeared.

Essays in Honour of John Sloboda

Music and the Mind

Don Rogers

This book is a selection of papers from a conference which took place at the University of Keele in July 1982. The conference was an extraordinarily enjoyable one, and we would like to take this opportunity of thanking all participants for helping to make it so. The conference was intended to allow scholars working on different aspects of symbolic behaviour to compare findings, to look for common ground, and to identify differences between the various areas. We hope that it was successful in these aims: the assiduous reader may judge for himself. Several themes emerged during the course of the conference. Some of these were: 1. There is a distinction to be made between those symbol systems which attempt, more or less directly, to represent a state of affairs in the world (e. g. language, drawing, map and navigational skill) and those in which the representational function is complemented, if not overshadowed, by properties of the symbol system itself, and the systematic inter-relations that symbols can have to one another (e. g. music, mathematics). The distinction is not absolute, for the nature of all symbolic skills is, in part, a function of the structure of the symbolic system employed. Nonetheless, this distinction helps us to understand some common acquisition difficulties, such as that experienced in mathematics, where mental manipulation of symbols can go awry if a child assumes too close a correspondence between mathematical symbols and the world they represent. 2.

The Acquisition of Symbolic Skills

Robert Henley Woody

Robert H. Woody

Andreas C. Lehmann

Assistant Professor of Music Education Robert H Woody

Importantly, they take a cross-cultural perspective, considering the "conservatory culture" of formally trained musicians alongside non-Western societies, past periods of history, and contemporary vernacular music cultures."--Jacket.

Understanding and Acquiring the Skills

Psychology for Musicians

What is it that accounts for the differences between musical beginners, advanced music makers, and world class performers? Virtually everyone likes music and has the capacity to be musical in some way (despite what some may say about themselves). Yet far fewer people come to be so involved with it that they identify themselves as musicians, and fewer still become musicians of international class. Psychology for Musicians provides the basis for answering this question. Examining the processes that underlie the acquisition of musical skills, Lehmann, Sloboda, and Woody provide a concise, accessible, and up-to-date introduction to psychological research for musicians.

John A. Sloboda

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