Ejemplos de Áreas, Temas y Trabajos de Investigación para la asignatura del Curso IV de LOGSE de la especialidad de Acordeón: Trabajo de investigación de fin de carrera: Investigación

The Oxford Handbook of  Music Psychology


La interpretación musical

John Rink (ed.)

Alianza Música información

Music, Motor Control and the Brain 2006 Oxford University Press

Explorin the musical mind 2005 Oxford University Press

cognition, emotion, ability, function

Musical Excelence 2004 Oxford University Press

Strategies and techniques to enhance performance

The Cognitive Neuroscience of Music 2003 Oxford University Press


The Science and Psychology of Music Performance 2002 Oxford University Press

Creative Strategies for Teaching and Learning

La mano 2002 Tusquets Editores

De cómo su uso configura el cerebro, el lenguaje y la cultura humana

Music and emotion 2001 Oxford University Press

Musical Perception 1994 Oxford University Press


Generative Processes in Music 2000 (1988) Clarendon Press Oxford

The Psychology of Performance, Improvisation, and Composition

La inteligencia hábil 1997 (1986) Aique

El desarrollo de las capacidades cognitivas

The Musical Mind 1985/2000 Oxford University Press

The Cognitive Psychology of Music 

The Psychology of music 1982 Academic Press

Bibliografía lectura a vista

Ver página: Lectura a vista


Part 1 The origins and functions of music 1 

Edited by Ian Cross 

 1 The nature of music and its evolution 3 

Ian Cross 

2 Universals in music processing 14 

Catherine Stevens and Tim Byron 

3 Music and meaning 24 

Ian Cross and Elizabeth Tolbert 

4 The social and personal functions of music in cross-cultural perspective 35 

Martin Clayton 

Part 2 Music perception 45 

Edited by Ian Cross 

5 The perception of pitch 47 

Thomas Stainsby and Ian Cross 

6 Tonal cognition 59 

Emmanuel Bigand and Bénédicte Poulin-Charronnat 

7 The perception of musical timbre 72 

Stephen McAdams and Bruno L. Giordano 

8 Musical time 81 

Mari Riess Jones 

 9 Components of melodic processing 93 

Mark A. Schmuckler 

10 Memory for music 107 

Bob Snyder 

Part 3 Responses to music 119 

Edited by Donald A. Hodges 

11 Bodily responses to music 121 

Donald A. Hodges 

12 Emotional responses to music 131 

Patrik N. Juslin 

13 The relationship between musical structure and perceived expression 141 

Alf Gabrielsson 

14 Aesthetics 151 

David Huron 

15 Musical preferences 160 

Alexandra Lamont and Alinka Greasley 

Part 4 Music and the brain 169 

Edited by Aniruddh D. Patel 

16 The neurobiological basis of musical expectations 171 

Laurel J. Trainor and Robert J. Zatorre 

17 Disorders of musical cognition 184 

Lauren Stewart, Katharina von Kriegstein, Simone Dalla Bella, Jason D. Warren and Timothy D. Griffi ths 

18 Music, musicians, and brain plasticity 197 

Gottfried Schlaug 

19 Music and the brain: three links to language 208 

Aniruddh D. Patel 

Part 5 Musical development 217 

Edited by David J. Hargreaves 

20 Prenatal development and the phylogeny and ontogeny of music 219 

Richard Parncutt 

21 Music lessons from infants 229 

Sandra E. Trehub 

22 Music in the school years 235 

Alexandra Lamont 

23 The impact of music instruction on other skills 244 

Frances H. Rauscher

Part 6 Learning musical skills 253

Edited by Susan Hallam

24 Musical potential 255

Gary McPherson and Susan Hallam

25 Practising 265

Harald Jørgensen and Susan Hallam

26 Individuality in the learning of musical skills 274

Helena Gaunt and Susan Hallam

27 Motivation to learn 285

Susan Hallam

28 The role of the family in supporting learning 295 

Andrea Creech 

29 The role of the institution and teachers in supporting learning 307 

Graham Welch and Adam Ockelford 

Part 7 Musical performance 321 

Edited by Richard Parncutt 

30 Measurement and models of performance 323 

W. Luke Windsor 

31 Planning and performance 332 

Eckart Altenmüller and Sabine Schneider 

32 Sight-reading 344 

Andreas C. Lehmann and Reinhard Kopiez 

33 Performing from memory 352 

Roger Chaffin, Topher R. Logan and Kristen T. Begosh 

34 Movement and collaboration in musical performance 364 

Jane W. Davidson 

35 Emotion in music performance 377 

Patrik N. Juslin 

36 Optimizing physical and psychological health in performing musicians 390 

Dianna T. Kenny and Bronwen Ackermann 

Part 8 Composition and improvisation 401 

Edited by Peter Webster 

37 Making a mark: the psychology of composition 403 

Jonathan Impett 

38 Musical improvisation 413 

Richard Ashley 

39 Children as creative thinkers in music: focus on composition 421 

Peter R. Webster 

Part 9 The role of music in everyday life 429 

Edited by John Sloboda 

40 Choosing to hear music: motivation, process and effect 431 

John Sloboda, Alexandra Lamont and Alinka Greasley 

41 Music in performance arts: film, theatre, and dance 441 

Annabel J. Cohen 

42 Peak experiences in music 452 

John Whaley, John Sloboda and Alf Gabrielsson 

43 Musical identities 462 

Raymond MacDonald, David J. Hargreaves and Dorothy Miell 

44 The effects of music in community and educational settings 471 

Susan Hallam and Raymond MacDonald 

45 Music and consumer behaviour 481 

Adrian C. North and David J. Hargreaves 

Part 10 Music therapy 491 

Edited by Michael Thaut 

46 Processes of music therapy: clinical and scientific rationales and models 493 

Shannon de l’Etoile 

47 Clinical practice in music therapy 503 

Corene Hurt-Thaut 

48 Research and evaluation in music therapy 515 

Barbara L. Wheeler 

49 Music therapy in medical and neurological rehabilitation settings 526 

Anne Kathrin Leins, Ralph Spintge and Michael Thaut 

Part 11 Conceptual frameworks, research methods and future directions 537 

Edited by Susan Hallam, Ian Cross and Michael Thaut 

50 Beyond music psychology 539 

Adam Ockelford 

51 History and research 552 

Michael Thaut 

52 Where now? 561 

Susan Hallam, Ian Cross and Michael Thaut 



La Interpretación musical


Los autores


Primera parte: Conceptos y preconceptos

1. La interpretación a través de la historia, por COUN LAWSON

2. La interpretación histórica y el intérprete moderno, por PETERWALLS

3. Análisis y (¿o?) interpretación, por JOHN RINK

4. Comprender la psicología de la interpretación, por ERICCLARKE

Segunda parte: Aprender a interpretar

5. Sobre la enseñanza de la interpretación, por JANETRITTERMAN

6. El desarrollo de la habilidad interpretativa, por JANEDAVIDSON

7. Preparándose para interpretar, por STEFANREID

8. La memorización de la música, por AARONWILLIAMON

Tercera parte: Hacer música

9. De la partitura al sonido, por PETERHILL

10. El lenguaje del cuerpo durante la interpretación, por JANEDAVIDSON

11. La interpretación en grupo, por ELAINEGOODMAN

12. El miedo escénico, por EUZABETHVALENTINE

Cuartaparte:Interpretar lainterpretación.

13. Escuchar la interpretación, por ERICCLARKE

14. El legado de las grabaciones, por PETER]OHNSON

15. La crítica de la interpretación musical, por RAYMONDMONELLE

16. Los intérpretes y la interpretación, por ]ONATHANDUNSBY

índice analítico




cognition, emotion, ability, function

John Sloboda

Oxford University Press 2005


Permissions xxvii

A Cognitive processes

1 The psychology of music reading

Structural cues within notation

The role of musical knowledge in reading

Teaching music reading

2 Experimental studies of music reading: a review

Review of early reading research

Experiments varying skill level and structure in text

Expressive sight-reading

3 The uses of space in music notation

Comparison of text and music notations

Historical trends in notation development

Conceptual issues in the design of notation

Psychological issues in the design of notation

4 Immediate recall of melodies

Problems of transcription from sung performance

Analysis of errors in sung recall

Memory representations for melodies

5 Cognition and real music: the psychology of music comes of age

Nature of scientific paradigms

Is music psychology paradigmatic?

The contribution of Lerdahl and Jackendoff

6 Psychological structures in music: core research 1980-1990

Citation as a means of assessing significance of research

The contribution of Krumhansl

Establishing a sense of tonal centre

Hierarchies in tonal representation

7 Review of Language Music, and Mind by Diana Raffman

The relationship of philosophy of music to psychology of music

Nuance and ineffability in music

Different ways in which music might be said to have 'meaning'

8 Does music mean anything?

Is parsing sufficient for understanding in music?

Dynamic feelings as precursors of meaning

'Thrills' as proto-emotions concerns

B Emotion and motivation

9 Music as a language

Musical phonology, syntax, and semantics

Peak musical experiences in childhood

Motivation for long-term commitment to music

10 Music psychology and the composer

Different models for composer-psychologist dialogue

Relationship of composition to functions of music

Music as an aid to cognitive restructuring

11 Empirical studies of emotional response to music

Free verbal emotional responses to music

Verbal responses within forced categories

Extrinsic and intrinsic antecedents of musical emotion

12 Emotional response to music: a review

Accounting for variation between and within people

Methods for measuring emotional response

How musical events elicit emotion

13 Musical performance and emotion: issues and developments

Different expressive roles of performers

Connection between music structure and expressive devices

Evidence for deliberate planning of expressive communication

C Talent and skill development

14 Musical expertise

Social and cultural relativity of musical expertise

Musical skill acquisition in non-instructional settings

Precursors of musical expertis

15 Musical ability

Cultural exposure as a primary source of basic ability

Expressive playing in sight-reading as a strong test of ability

How to develop technical and expressive skill togethe

16 The acquisition of musical performance expertise: deconstructing the talent' account of individual differences in musical expressivity

Is musical skill inherited?

The role of practice

Different learning mechanisms for technical and expressive skill

17 Are some children more gifted for music than others?

The role of early learning in skill development

Social support mechanisms for skill development

Motivational factors predicting success or dropout

D Music in the real world

18 Everyday uses of music listening: a preliminary study

Importance of situation and volition in determining effects of music

Free verbal descriptions of music's role in everyday life

Music in public places

19 Music: where cognition and emotion meet

Mismatch between music's value to people and their level of musical skill

Tracking everyday uses of music in real time

Societal barriers to engagement with music

20 Music and worship: a psychologist's perspective

Can music have assumed common effects within a defined situation?

Parallels between different ways of listening to music and different aspects of worship

Ineffability as a core concept in both music and worship

21 Emotion, functionality, and the everyday experience of music: where does music education fit?

Reasons why young adolescents give up instrumental engagement

Cultural trends associated with disengagement from formal music

Responses of the education system to cultural change

22 The 'sound of music' versus the 'essence of music': dilemmas for music-emotion researchers

Cultural trends which deindividriate the musical experience

How science can be misused in the interests of cultural homogenization of the musical experience

Research which demonstrates the strong contribution of the individual to the nature of the musical experience

23 Assessing music psychology research: values, priorities, and outcomes

The social benefits of music psychology research psychology

Differentiating the above from the social benefits of music

Differing levels of engagement with social issues evident in research






Strategies and techniques to enhance performance

Edited by Aaron Williamond

Oxford University Press 2004


Contributors page xi

Part I Prospects and limits

1 A guide to enhancing musical performance

Aaron Williamon

2 Genera! perspectives on achieving musical excellence

Roger Chaffin and Anthony F. Lemieux

3 Managing the physical demands of musical performance

Christopher B. Wynn Parry

4 Measuring performance enhancement in music

Gary E. McPherson and Emery Schubert

Part II Practice strategies

5 Strategies for individual practice

Harald Jorgensen

6 Strategies for ensemble practice

Jane W Davidson and Elaine C. King

7 Strategies for memorizing music

Jane Ginsborg

8 Strategies for sight-reading and improvising music

Sam Thompson and Andreas C. Lehmann

Part III Techniques and interventions

9 Physical fitness

Adrian H. Taylor and David Wasley

10 Alexander technique

Elizabeth Valentine

12 Mental skills training

Christopher Connolly and Aaron Williamon

13 Feedback learning of musical expressivity

Patrik N. Juslin, Anders Friberg, Erwin Schoonderwaldt, and Jessika Karlsson

14 Drugs and musical performance

Robert West

Epilogue: A note on future directions for enhancing musical performance

Aaron Williamon




The Cognitive Neuroscience of Music

edited by Edited by Isabelle Peretz and Robert J. Zatorre

Oxford University Press 2003



Part I: The origins of music

1 Sandra E. Trehub: Musical predisposition in infancy: an update

2 Carolyn Drake and Daisy Bertrand: The quest for universals in temporal processing in music

3 Jenny R. Saffran, Michael Loman, and Rachel Robertson: Mechanisms of musical memory in infancy

4 Ian Cross: Music, cognition, culture, and evolution

5 David Huron: Is music an evolutionary adaptation?

Part II: The musical mind

6 Stephen McAdams and Daniel Matzkin: The roots of musical variation in perceptual similarity and invariance

7 Carol L. Krumhansl and Petri Toivainen: Tonal cognition

8 Barbara Tillmann, Jamshed J. Barucha, and Emmanuel Bigand: Learning and perceiving musical structures: further insights from artificial neural networks

Part III: The neurons of music

9 Mark Tramo: Neurobiology of harmony perception

10 Catherine Liegeois-Chauvel, Kimberly Giraud, Jean-Michel Badier, Patrick Marquis, and Patrick Chauvel: Intracerebral evoked potentials in pitch perception reveal a functional asymmetry of human auditory cortex

11 Timothy D. Griffiths: The neural processing of complex sounds

Part IV: Musical brain substrates

12 John C.M. Brust: Music and the neurologist: an historical perspective

13 Isabelle Peretz: Brain specialization for music: new evidence from congenital amusia

14 Severine Samson: Cerebral substrates for musical temporal processes

15 Andrea R. Halpern: Cerebral substrates of musical imagery

16 Robert J. Zatorre: Neural specializations for tonal processing

17 Lawrence M. Parsons: Exploring the functional neuroanatomy of music performance, perception, and comprehension

18 Mireille Besson and Daniele Schon: Comparison between language and music

19 Mari Tervaniemi: Musical sound processing: EEG and MEG evidence

20 Laurel Trainor: Frontal EEG responses as a function of affective musical features

21 Aniruddh D. Patel and Evan Balaban: Cortical dynamics and the perception of tone sequence structure

22 Eckart O. Altenmuller: How many music centres are in the brain

Part V: Musical brain/brain plasticity

23 Joseph P. Rauschecker: Functional organization and plasticity of auditory cortex

24 Gottfried Schlaug and Chi Chen: The brain of musicians

25 C. Pantev, A. Engelien, Candia, and T. Elbert: Representational cortex in musicians

26 Alvaro Pascual-Leone: The brain that makes music and is changed by it

Part VI: Relation of music to other cognitive domains

27 Fred Lerdahl: The sounds of poetry viewed as music

28 Glenn Shellenberg: Does exposure to music have beneficial side effects?



The Science and Psychology of Music Performance 2002 Oxford University Press

Creative Strategies for Teaching and Learning


Part 1: The Developing Musician

1 Music Potential
2 Environmental Influences
3 Motivation
4 Performance Anxiety
5 Brain Mechanisms
6 Music Medicine

Part 2: Subskills of Music Performance

7 From Sound to Sign
8 Improvisation
9 Sight-Reading
10 Practice
11 Memory
12 Intonation
13 Structural Communication
14 Emotional Communication
15 Body Movement

Part 3: Instruments and Ensembles

16 Solo Voice
17 Choir
18 Piano
19 String Instruments
20 Wind Instruments
21 Rehearsing and Conducting




edited by Diana Deutch

ISBN 0-12-213560-1 AACR2

List of Contributors xi
Preface xiii

1. The Perception of Musical Ton

R. A. Rasch and R. Plomp

The Psychoacoustics of Music
Perceptual Attributes of Single Tones
Perceptual Attributes of Simultaneous Tones

2. Exploration of Timbre by Analysis and Synthesis

Jean-Claude Risset and David L. Wessel

Timbre and the Fourier Spectrum: The Classical View
The Shortcomings of the Classical Conception
Attack Transients
Complexity of Sounds: Importance of Characteristic Features
Instrumental and Vocal Timbres: Additive Synthesis
Cross Synthesis and Voice Synthesis
Additive Synthesis: Percussion Instruments
Substractive Synthesis
Acoustic Modeling as a Synthesis Technique
The Importance of Context
Analysis-Synthesis as Fitting Acoustic and Perceptual Models to Data
The Use of Analysis-Synthesis Models of Timbre
Timbral Space
Appendix: Signal Representations and Analysis-Synthesis Processes

3. Perception of Singing

Johan Sundberg

Function of the Voice
Resonatory Aspects
Pitch Accuracy in Singing Practice
Phrasing and Emotion
Concluding Remarks

4. Grouping Mechanisms in Music

Diana Deutsch

Grouping Principles
Two-Channel Listening to Melodic Sequences
Channeling of Rapid Sequences of Single Tones
Voluntary Attention

5. The Listener and the Acoustic Environment

R. A. Rasch and R. Plomp

Level Effects of Indirect Sound: Loudness
Temporal Effects of Indirect Sound: Definition
Spatial Effects of Indirect Sound: Spaciousness
The Compromise between Definition and Spaciousness

6. Rhythm and Tempo

Paul Fraisse

Rhythm and Spontaneous Tempo
Rhythmic Forms
The Perception of Musical Rhythms

7. Timing by Skilled Musicians

Saul Sternberg, Ronald L. Knoll, and Paul Zukofsky

Perception, Production, and Imitation of Fractions of the Beat
Perceptual judgment of Beat Fractions
Production of Beat Fractions
Imitation of Beat Fractions
A Shared-Process Model of the Perception, Production, and Imitation of Beat Fractions
Further Analysis of Perceptual judgment
Further Analysis of Production

8. Intervals, Scales, and Tuning

Edward M. Burns and W. Dixon Ward

Are Scales Necessary?
Musical Interval Perception
Natural Intervals and Scales
Conclusions and Caveats

9. The Processing of Pitch Combinations

Diana Deutsch

Feature Abstraction
Higher Order Abstractions
Alphabets and Hierarchies
Memory Systems

10. Melodic Processes and the Perception of Music

Burton S. Rosner and Leonard B. Meyer

The Perception and Classification of Two Archetypal Melodic Processes
Experimental Findings

11. Structural Representations of Musical Pitch

Roger N. Shepard

Unidimensional Approaches to Pitch
Potentially Multidimensional Approaches to Pitch
The Spatial Representation of Pitch
Illustrative Analyses of Empirical Data

12. Musical Ability

Rosamund Shuter-Dyson

Concepts of Musical Ability
Correlational and Factorial Studies of Musical Ability
Musical Ability and Other Intellectual Abilities

13. Melodic Information Processing and Its Development

W. Jay Dowling

Adult Memory
Contour versus Interval

14. Absolute Pitch

W. Dixon Ward and Edward M. Burns

Genesis of AP
Measurement of AP
Stability of the Internal Standard
Learning AP
The Value of AP

15. Neurological Aspects of Music Perception and Performance

Oscar S. M. Marin

Auditory Agnosia and Verbal Deafness
General Comments

16. Music Performance

John A. Sloboda

The Nature of Performance Plans
Acquisition of Performance Plans
The Role of Feedback in Performance
Social Factors in Performance

17. Social Interaction and Musical Preference

Vladimir J. Konecni

Effects of Social Stimulation on Aesthetic Choice
Effects of Information Load and Arousing Nonsocial Stimulation on Aesthetic Choice
Effects of Listening to Melodies Differing in Complexity on Emotional States and Social Behavior
Listeners' Sequencing and "Chunking" of Musical Materials and the Use of Music for Mood Optimization

18. New Music and Psychology

Robert Erickson

Music Theory and Music
Understanding Tonality
Music and Perceptual Streaming
Fused Sounds in Music
Music Theory and Experimental Science




The Cognitive Psychology of Music

John A. Sloboda

Oxford University Press 1985/2000




Chomsky and Schenker
Other comparisons between language and music
Musical phonology
Musical syntax
Musical semantics


Sight reading
Expert performance


Manuscript evidence
Composers' writings on their own compositional process
Observations of composers at work


Natural hearing': primitive grouping mechanisms in music
Attention in music listening
Memory in music listening


Musical enculturation
Training and skill acquisition
Assessing musical ability


Culture and musical thinking
Biology and musical thinking










1. Emotion and Meaning in Music

Leonard B. Meyer

2. Music and Language: Parallels and Contrasts

Rita Aiello

3. Perception: A Perspective from Music Theory

Nicholas Cook


4. Songsinging by Young and Old: A Developmental Approach to Music

Lyle Davidson

5. Coming to Hear in a New Way

Jeanne Bamberger

6. Music Performance: Expression and the Development of Excellence

John A. Sloboda


7. Melodic Contour in Hearing and Remembering Melodies

W. Jay Dowling

8. Describing the Mental Representation of Tonality in Music

David Butler and Helen Brown

9. Tonality and Expectation

Jamshed J. Bharucha

10. Perception, Production, and Imitation of Time Ratios by Skilled Musicians

Saul Sternberg and Ronald L. Knoll

11. The Interpretive Component in Musical Performance

L. H. Shaffer and Neil P. McAngus Todd


12. Can Listening to Music Be Experimentally Studied?

Rita Aiello

Author Index

Subject Index




The Psychology of Performance, Improvisation, and Composition

Edited by John A. Sloboda (Department of Psychology University of Keele)




List of contributors

Generative principles in music performance

Eric F. Clarke

2. Timing in music performance and its relations to music experience

Alf Gabrielsson

3. Computer synthesis of music performance

Johan Sundberg

4. Timing and synchronisation in ensemble performance

Rudolf A. Rasch

5. Rehearsal skill and musical competence: does practice make perfect?

Linda M. Gruson

6. Tonal structure and children's early learning of music

W. Jay Dowling

7. Improvisation: methods and models

Jeff Pressing

8. Experimental research into musical generative ability

Maria Sagi and Ivan Vitanyi

9. Young children's musical representations: windows on music cognition

Lyle Davidson and Lawrence Scripp

10. Cognitive constraints on compositional systems

Fred Lerdahl

11. From collections to structure: the developmental path of tonal thinking

Lyle Davidson and Patricia Welsh 260

Appendix: Examples 8. 11-8.18

Author index

Subject index


La inteligencia hábil

El desarrollo de las capacidades cognitivas

Angus Gellatly (compilador)

Aique 1997 (1986) ISBN: 950-701-377-6

1 La naturaleza de las habilidades

Cognición y psicología

¿Qué es una habilidad?

La adqusición de la habilidad

La lectura: un estudio de caso de habilidades cognitivas.

2 Habilidades de la memoria

La naturaleza de la memoria.

Adquisición de habilidades de la memoria

Habilidades memorísticas excepcionales

¿Cómo pueden mejorarse las habilidades memorísticas?

3 Habilidades de la comunicación y la comprensión

Las habilidades del hablante

Habilidades del oyente

Habilidades sociales

¿cómo mejorar las habilidades de aprendizaje?

4 Pensamiento y habilidades

La habilidad en el razonamiento

La resolución de problemas

La creatividad y las habilidades cognitivas

Las computadoras y la cognición.




Theory and research


Edited by PATRIK N. JUSLIN, Uppsala University, Sweden and JOHN A. SLOBODA



List of contributors




1 Music and emotion: introduction

Patrik N. Juslin and John A. Sloboda

Multidisciplinary Perspectives

2 Philosophical perspectives on music's expressiveness

Stephen Davies

3 Musicological approaches to emotion

Nicholas Cook and Nicola Dibben

4 Psychological perspectives on music and emotion

John A. Sloboda and Patrik N. Juslin

5 Listen to the brain: a biological perspective on musical emotions

Isabelle Peretz

6 Anthropological perspectives on music and emotion

Judith Becker

7 Aesthetic agency and musical practice: new directions in the sociology of music end emotion

Tia DeNora

8 Music and emotion: perspectives from music therapy

Leslie Bunt and Mercedes Pavlicevic

The Composer

9 Emotion and composition in ical music: historiometric perspectives

Dean Keith Simonton

10  The influence of musical structure on emotional expression

Alf Gabrielsson and Erik Lindstrom

11  Music as a source of emotion in film

Annabel J. Cohen

The Performer

12  The subjective world of the performer

Roland S. Persson

13  Negative emotions in music making: the problem of performance anxiety

Andrew Steptoe

14  Communicating emotion in music performance: a review and a theoretical framework

Patrik N. Juslin

The Listener

15  Music and emotion: distinctions and uncertainties

Leonard B. Meyer

16  Emotional effects of music: production rules

Klaus R. Scherer and Marcel R. Zentner

17  Continuous measurement of self-report emotional response to music

Emery Schubert

18  Emotions in everyday listening to music

John A. Sloboda and Susan A. O'Neill

19  Emotions in strong experiences with music

Alf Gabrielsson


20  Music and emotion: commentary

John A. Sloboda and Patrik N. Juslin

Author index

Subject index




De cómo su uso configura el cerebro, el lenguaje y la cultura humana

Título original: The Hand How Its Use Shapes the Brain, Language and Human Culture ©1998 by Frank R. Wilson

Tusquets Editores, S.A. Septiembre 2002

ISBN: 84-8310-828-3


Music, Motor Control and the Brain 2006 Oxford University Press

Part 1: History

1. Historical increases in expert music performance skills: optimising instruments, playing techniques and training , Andreas C. Lehmann

Part 2: Psychology

2. From cognition to action , Lutz Jäncke
3. The nature of memory for music performance skills , Caroline Palmer
4. Musical synchronization , Bruno Repp

Part 3: Movement analysis

5. Hand movements and musical performance , Thomas E. Jerde, Marco Santello, Martha Flanders & John F. Soechting
6. Movement analysis in pianists , Hans-Christian Jabusch
7. Fingering and bowing in violinists , Mario Wiesendanger, Andreas Baader & Oleg Kazennikov
8. Movements and analysis of drumming , Sofia Dahl

Part 4: Representation in the Brain

9. Brain structures of musicians: executive functions and morphological implications , Gottfried Schlaug
10. The motor representation in pianists and string players , Lutz Jäncke
11. Brain activation during piano playing , Marc Bangert
12. Brain activation during string playing , Arto Nirkko & Rumyana Kristeva
13. 'Singing in the (b)rain': cerebral correlates of vocal music performance in humans , Hermann Ackermann, Dirk Wildgruber & Axel Riecker
14. Sensory-motor networks in singing and speaking: a comparative approach , Reyna Leigh Gordon, Amelie Racette & Daniele Schon
15. Role of inhibition in motor control of finger functions , Christian Gerloff & Friedhelm Hummel

Part 5: Apollo's curse - the loss of motor control in musicians

16. The end of the song? Robert Schumann's focal dystonia , Eckart Altenmüeller
17. Epidemiology, phenomenology and therapy of musician's cramp , Hans-Christian Jabusch & Eckart Altenmüeller
18. The neurophysiology of focal hand dystonia in musicians , Karin Rosenkranz
19. The development of focal dystonia in musicians as a consequence of maladaptive plasticity: implications for intervention , Nancy Byl & Alberto Priori
20. Music performance anxiety , Jurg Kesselring