In recent years the discpline of 'music psychology' has grown dramatically. In this volume, the two leaders in this field Isabelle Peretz and Robert Zatorre, have brought together an impressive list of contributors to present this study of the neutral correlates of music.

In the first comprehensive study of the relationship between music and language from the standpoint of cognitive neuroscience, Aniruddh D. Patel challenges the widespread belief that music and language are processed independently. Since Plato's time, the relationship between music and language has attracted interest and debate from a wide range of thinkers. Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cognitive science, music cognition, and neuroscience are drawn to the music-language interface as one way to explore the extent to which different mental abilities are processed by separate brain mechanisms. Accordingly, the relevant data and theories have been spread across a range of disciplines. This volume provides the first synthesis, arguing that music and language share deep and critical connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities. Winner of the 2008 ASCAP Deems Taylor Award.

From the author of The Changing Mind and The Organized Mind comes a New York Times bestseller that unravels the mystery of our perennial love affair with music ***** 'What do the music of Bach, Depeche Mode and John Cage fundamentally have in common?' Music is an obsession at the heart of human nature, even more fundamental to our species than language. From Mozart to the Beatles, neuroscientist, psychologist and internationally-bestselling author Daniel Levitin reveals the role of music in human evolution, shows how our musical preferences begin to form even before we are born and explains why music can offer such an emotional experience. In This Is Your Brain On Music Levitin offers nothing less than a new way to understand music, and what it can teach us about ourselves. ***** 'Music seems to have an almost wilful, evasive quality, defying simple explanation, so that the more we find out, the more there is to know . . . Daniel Levitin's book is an eloquent and poetic exploration of this paradox' Sting 'You'll never hear music in the same way again' Classic FM magazine 'Music, Levitin argues, is not a decadent modern diversion but something of fundamental importance to the history of human development' Literary Review

"This volume will be of particular interest to medical professionals, neuroscientists, neurologists, psychologists, educators, music therapists, musicologists, sound engineers, computer scientists. Manuscripts address how the tools of cognitive neuroscience have provided new insights into where and how rhythm is coded in the brain; production and perception abilities and the relationship between the two; the use of music as a tool for the investigation of human cognition and its underlying brain mechanisms; recent research investigating various aspects of musical memory and learning, and implications for medical rehabilitation for patients with memory disorders; advances in the fields of developmental auditory neuroscience, empirical music aesthetics, and music emotions in normal and disordered development such as autistic spectrum disorders; mutual interactions between music and language in children and adults with cochlear implants; and human communication of information, ideas, and emotional states, and the shared networks of speech and motor processing with musical processing"--NYAS Web site

The Oxford Handbook of Music and the Brain is a groundbreaking compendium of current research on music in the human brain. It brings together an international roster of 54 authors from 13 countries providing an essential guide to this rapidly growing field.

The sixth edition of the foundational reference on cognitive neuroscience, with entirely new material that covers the latest research, experimental approaches, and measurement methodologies. Each edition of this classic reference has proved to be a benchmark in the developing field of cognitive neuroscience. The sixth edition of The Cognitive Neurosciences continues to chart new directions in the study of the biological underpinnings of complex cognition—the relationship between the structural and physiological mechanisms of the nervous system and the psychological reality of the mind. It offers entirely new material, reflecting recent advances in the field, covering the latest research, experimental approaches, and measurement methodologies. This sixth edition treats such foundational topics as memory, attention, and language, as well as other areas, including computational models of cognition, reward and decision making, social neuroscience, scientific ethics, and methods advances. Over the last twenty-five years, the cognitive neurosciences have seen the development of sophisticated tools and methods, including computational approaches that generate enormous data sets. This volume deploys these exciting new instruments but also emphasizes the value of theory, behavior, observation, and other time-tested scientific habits. Section editors Sarah-Jayne Blakemore and Ulman Lindenberger, Kalanit Grill-Spector and Maria Chait, Tomás Ryan and Charan Ranganath, Sabine Kastner and Steven Luck, Stanislas Dehaene and Josh McDermott, Rich Ivry and John Krakauer, Daphna Shohamy and Wolfram Schultz, Danielle Bassett and Nikolaus Kriegeskorte, Marina Bedny and Alfonso Caramazza, Liina Pylkkänen and Karen Emmorey, Mauricio Delgado and Elizabeth Phelps, Anjan Chatterjee and Adina Roskies

Interdisciplinary essays on music psychology that integrate scientific, humanistic, and artistic ways of knowing in transformative ways. Researchers using scientific methods and approaches to advance our understanding of music and musicality have not yet grappled with some of the perils that humanistic fields concentrating on music have long articulated. In this edited volume, established and emerging researchers—neuroscientists and cognitive scientists, musicians, historical musicologists, and ethnomusicologists—build bridges between humanistic and scientific approaches to music studies, particularly music psychology. Deftly edited by Elizabeth H. Margulis, Psyche Loui, and Deirdre Loughridge, The Science-Music Borderlands embodies how sustained interaction among disciplines can lead to a richer understanding of musical life. The essays in this volume provide the scientific study of music with its first major reckoning, exploring the intellectual history of the field and its central debates, while charting a path forward. The Science-Music Borderlands is essential reading for music scholars from any disciplinary background. It will also interest those working at the intersection of music and science, such as music teachers, performers, composers, and music therapists. Contributors: Manuel Anglada-Tort, Salwa El-Sawan Castelo-Branco, Hu Chuan-Peng, Laura K. Cirelli, Alexander W. Cowan, Jonathan De Souza, Diana Deutsch, Diandra Duengen, Sarah Faber, Steven Feld, Shinya Fujii, Assal Habibi, Erin. E. Hannon, Shantala Hegde, Beatriz Ilari, Jason Jabbour, Nori Jacoby, Haley E. Kragness, Grace Leslie, Casey Lew-Williams, Deirdre Loughridge, Psyche Loui, Diana Mangalagiu, Elizabeth H. Margulis, Randy McIntosh, Rita McNamara, Eduardo Reck Miranda, Daniel Müllensiefen, Rachel Mundy, Florence Ewomazino Nweke, Patricia Opondo, Aniruddh D. Patel, Andrea Ravignani, Carmel Raz, Matthew Sachs, Marianne Sarfati, Patrick E. Savage, Huib Schippers, Jim Sykes, Gary Tomlinson, Jamal Williams, Maria A. G. Witek, Pamela Z

Summarizes the latest research on music learning, focusing on the profession's empirical & conceptual knowledge of how students gain competence in music at various ages & in different contexts.

Embodiment of Musical Creativity offers an innovative look at the interdisciplinary nature of creativity in musical composition. Using examples from empirical and theoretical research in creativity studies, music theory and cognition, psychology and philosophy, performance and education studies, and the author’s own creative practice, the book examines how the reciprocity of cognition and performativity contributes to our understanding of musical creativity in composition. From the composer’s perspective the book investigates the psychological attributes of creative cognition whose associations become the foundation for an understanding of embodied creativity in musical composition. The book defines the embodiment of musical creativity as a cognitive and performative causality: a relationship between the cause and effect of our experience when composing music. Considering the theoretical, practical, contextual, and pedagogical implications of embodied creative experience, the book redefines aspects of musical composition to reflect the changing ways that musical creativity is understood and evaluated. Embodiment of Musical Creativity provides a comparative study of musical composition, in turn articulating a new perspective on musical creativity.

The MENC Handbook of Research on Music Learning, Volume 1: Strategies brings together the best and most current research on methods for music learning, focusing squarely on the professions empirical and conceptual knowledge of how students gain competence in music at various ages and in different contexts. The collection of chapters, written by the foremost figures active in the field, takes a broad theoretical perspective on current, critical areas of research, including music development, music listening and reading, motivation and self-regulated learning in music, music perception, and movement. The books companion volume, Applications, builds an extensive and solid position of practice upon the frameworks and research presented here. Throughout both volumes in this essential set, focus is placed on the musical knowledge and musical skills needed to perform, create, understand, reflect on, enjoy, value, and respond to music. A key point of emphasis rests on the relationship between music learning and finding meaning in music, and as music technology plays an increasingly important role in learning today, chapters move beyond exclusively formal classroom instruction into other forms of systematic learning and informal instruction. Either individually or paired with its companion Volume 2: Applications, this indispensable overview of this growing area of inquiry will appeal to students and scholars in Music Education, as well as front-line music educators in the classroom.