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On Repeat
On Repeat offers an in-depth inquiry into music's repetitive nature. Drawing on a diverse array of fields, it sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and considers related implications for repetition in language, learning, and communication.
On Repeat
Winner of the Wallace Berry Award, Society for Music Theory Winner of the Deems Taylor/Virgil Thomson Award, ASCAP What is it about the music you love that makes you want to hear it again? Why do we crave a "hook" that returns, again and again, within the same piece? And how does a song end up getting stuck in your head? Whether it's a motif repeated throughout a composition, a sample looped under an electronic dance beat, a passage replayed incessantly by a musician in a practice room-or an "earworm" burrowing through your mind like a broken record-repetition is nearly as integral to music as the notes themselves. Its centrality has been acknowledged by everyone from evolutionary biologist ...
The Psychology of Music
The Psychology of Music: A Very Short Introduction seeks to answer fundamental questions of enduring interest, such as "What is musicality?" and "How does music move us?" In doing so, it reveals what happens when science attempts to confront some of the deepest questions about music.
The Psychology of Music
Music has been examined from multiple perspectives: as a product of human history, for example, or a product of human culture. But there is also a long tradition, intensified in recent decades, of thinking about music as a product of the human mind. Whether considering composition, performance, listening, or appreciation, the constraints and capabilities of the human mind play a formative role. The field that has emerged around this approach is known as the psychology of music. Written in a lively and accessible manner, this volume connects the science to larger questions about music that are of interest to practicing musicians, music therapists, musicologists, and the general public alike. ...
The Oxford Handbook of Topic Theory
Topics are musical signs that rely on associations with different genres, styles, and types of music making. The concept of topics was introduced by Leonard Ratner in the 1980s to account for cross-references between eighteenth-century styles and genres. While music theorists and critics were busy classifying styles and genres, defining their affects and proper contexts for their usage, composers started crossing the boundaries between them and using stylistic conventions as means of communication with the audience. Such topical mixtures received negative evaluations from North-German critics but became the hallmark of South-German music, which engulfed the Viennese classicism. Topic theory ...
Handbook of Music and Emotion
Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. The predecessor to this book 'Music and Emotion' (OUP, 2001) was critically and commercially successful and stimulated much further work in this area. In the years since publication of that book, empirical research in this area has blossomed, and the successor to 'Music and Emotion' reflects the considerable activity in this area. The Handbook of Music and Emotion offers an 'up-to-date' account of this vibrant domain. It provides comprehensive coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and dep...
Psychology of Music
Between the physical world of vibration, as measured by apparatus, and the world of consciously heard music there is a third area of investigation. Our auditory apparatus and/or mind separates different instruments and tones, hears some vibrations but not others, adds tones to fill out the sound spectrum, etc. This middle ground is the province of the psychology of music, a subject about which even many physical scientists know little. This introduction, by the developer of the Seashore test of musical ability, is a thorough survey of this field, the standard book for psychologists specializing in the area, for the school, and for interested musicologists. It opens with the musical mind and ...
Polyphonic Minds
An exploration of polyphony and the perspective it offers on our own polyphonic brains. Polyphony—the interweaving of simultaneous sounds—is a crucial aspect of music that has deep implications for how we understand the mind. In Polyphonic Minds, Peter Pesic examines the history and significance of “polyphonicity”—of “many-voicedness”—in human experience. Pesic presents the emergence of Western polyphony, its flowering, its horizons, and the perspective it offers on our own polyphonic brains. When we listen to polyphonic music, how is it that we can hear several different things at once? How does a single mind experience those things as a unity (a motet, a fugue) rather than ...
Music: A Very Short Introduction
This stimulating Very Short Introduction to music invites us to really think about music and the values and qualities we ascribe to it. The world teems with different kinds of music-traditional, folk, classical, jazz, rock, pop-and each type of music tends to come with its own way of thinking. Drawing on a wealth of accessible examples ranging from Beethoven to Chinese zither music, Nicholas Cook attempts to provide a framework for thinking about all music. By examining the personal, social, and cultural values that music embodies, the book reveals the shortcomings of traditional conceptions of music, and sketches a more inclusive approach emphasizing the role of performers and listeners. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
World Music: A Very Short Introduction
'World music' emerged as an invention of the West from encounters with other cultures. This book draws readers into a remarkable range of these historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eight chapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity. World Music is wide-ranging in its geographical scope, yet individual chapters provide in-depth treatments of selected music cultures and regional music histories. The book frequently zooms in on repertoires and musicians - s...
