Donald A. Hodges, formerly the Covington Distinguished Professor of Music Education, is now Professor Emeritus at the University of North Carolina, Greensboro (USA).Gary E. McPherson is the Ormond Chair of Music at the Melbourne Conservatorium of Music, University of Melbourne (Australia).

• Part I: Introducing Music PsychologyChapter 1. What is Music Psychology?The Purview of Music PsychologyA Model of Music PsychologyContributions from BiologyContributions from AnthropologyContributions from PhilosophyContributions from EducationContributions from PsychologyContributions from SociologyContributions from PhysicsContributions from MusicA Brief History of Music PsychologyAn Overview of the Literature in Music PsychologyConclusionDiscussion QuestionsChapter 2. Philosophical Issues in Music PsychologyHuman and Musical NatureBiological DifferencesAdaptabilityCultural DevelopmentSymbolic BehaviorsLovePlayReligionTechnologyAesthetic SensitivityKnowledgeThe Interface of Music Philosophy and Music PsychologyGeneral Philosophical ApproachesThe Science of BeautyExperimental AestheticsThe Golden Mean and Mathematical InfluencesA Philosophical Paradigm Shift in Music PsychologyMusic as a Way of KnowingIs Music Psychology Encroaching on Music Philosophy’s Territory?Seashore’s Involvement with EugenicsConclusionDiscussion QuestionsChapter 3. How We Came to be MusicalRhythm, a Fundamental Life ProcessNatural SoundscapesParent-Infant BondingThe Acquisition of LanguageMusic as a Way of KnowingSocial OrganizationConclusionDiscussion QuestionsChapter 4. Music Around the World and Across TimeTime-Line of Early Artistic BehaviorsPrehistoric Cave and Rock ArtArt and TechnologyInvariantsReligionCelebrationsAltered States of ConsciousnessMusic: A Human InvariantEmotional expression (Merriam), Regulation of an individual's emotional, cognitive, or physiological state (Clayton)Aesthetic enjoyment (Merriam)Entertainment (Merriam), Personal enjoyment, Games (Gregory)Communication (Merriam, Gregory)Symbolic representation (Merriam, Clayton), Personal symbol (Gregory)Physical response (Merriam), Dancing (Clayton)Enforcing conformity to social norms (Merriam), Mediation between self and other (Clayton)Validation of social institutions and religious rituals (Merriam), Ceremonies and festivals; Religious music (Gregory)Contribution to the continuity and stability of culture (Merriam), Ethnic or group identity (Gregory)Contribution to the integration of society (Merriam)Lullabies (Gregory)Work music (Gregory), Coordination of action (Clayton)Storytelling (Gregory)Battle (Gregory)Salesmanship (Gregory)Healing, trance (Gregory)Court (Gregory)ConclusionDiscussion QuestionsPart II: Perceiving, Understanding and Responding to MusicChapter 5. Acoustical Foundations of MusicWhat is Sound?Important Parameters of SoundMeasuring and Describing Sound and VibrationFrequencyAmplitudeWaveform (Signal Shape)TimeHow Environment Affects SoundTransmission and AbsorptionReflectionDiffractionRefractionInterferenceTuning SystemsTuning in Western MusicNon-Western Tuning SystemsAcoustics of the Voice and Musical InstrumentsThe VoiceAerophonesChordophonesIdiophones, Membranophones, and CorpophonesElectrophonesRoom AcousticsConclusionDiscussion QuestionsChapter 6. Musical HearingThe Hearing MechanismOuter EarMiddle EarInner EarFrom Ear to BrainThe Auditory CortexConclusionDiscussion QuestionsChapter 7. Psychoacoustics and the Perception of MusicThe Critical BandThe Perception of PitchPitch DiscriminationPitch MatchingPitch Height and Pitch ChromaAbsolute PitchSynesthesiaThe Perception of LoudnessThe Perception of TimbreThe Perception of DurationSecondary RelationshipsPitchLoudnessTimbreDurationVolume and DensityConclusionDiscussion QuestionsChapter 8. Music CognitionGestalt Laws of Cognitive OrganizationAuditory Scene AnalysisSchemataThe Spotlight of AttentionThe Cocktail Party Phenomenon and Auditory Stream SegregationMusical MemoryStatistical Learning in MusicExpectancy TheoryTonalityCognition of Musical ElementsMelody and HarmonyTonality in Melody CognitionMelodic ContourConsonance - DissonanceRhythmTimbreCognition of Larger Musical FormsCross-Cultural Comparative Research in MusicMusic and LanguageConclusionDiscussion QuestionsChapter 9. Music and the BrainBrief Introduction to the BrainNeural PlasticityPruningCritical and Sensitive PeriodsNeural NetworksMultisensory IntegrationMusic in the BrainSupport from Ancillary DisciplinesSupport from Indirect ApproachesSpecial MusiciansImaging Techniques for Studying Music ElectroencephalographyElectrocorticographyEvent-related PotentialsMagnetoencephalographyPositron-Emission TomographyMagnetic Resonance ImagingFunctional Magnetic Resonance ImagingTranscranial Magnetic StimulationDiffusion Tensor ImagingfNIRS: Functional Near-Infared SpectroscopyHyperscanningImaging Music Perception and Cognition Imaging Affective Responses to MusicImaging Musical Performance Imaging Music LearningPredictive Coding of Music (PCM) Model ConclusionDiscussion QuestionsChapter 10. Bodily Responses to MusicPhysiological Responses to MusicHeart Rate and Pulse RateBlood PressureRespirationSkin Conductance ResponsesNeurochemical ResponsesSkin, Finger, or Body Temperature Miscellaneous ResponsesPhysical Responses to MusicMuscular and Motor ResponsesChills and TearsFacial GesturesBody MovementsDiscussion of Psychophysiological VariablesConclusionDiscussion QuestionsChapter 11. Musical EmotionsIntroduction to the Study of EmotionsThe Role of Expectations in Musical EmotionsMeasuring Musical EmotionsPerceived Emotions: The Cognitivist PositionInduced Musical Emotions: The Emotivist PositionA Third Viewpoint: Aesthetic Trinity TheoryMusical Emotions in Everyday ExperiencesConclusionDiscussion QuestionsPart III: Being MusicalChapter 12. The Musical PersonIs Musicality Inherited or Acquired?Genetic Factors in MusicalityThe Acquisition of Musical AttributesSummary of the Inheritance/Acquisition of Musical AttributesThe Relationship of Musical Attributes to Other Human AttributesThe Musical PersonalityReligious and Spiritual AspectsMusical IdentityMusical PreferencesPreferences for InstrumentsPreferences for Musical Genres The ListenerThe MusicSituations and ContextsConclusionDiscussion QuestionsChapter 13. Music PerformanceMotor SkillsNeuromotor Aspects of Music MakingMotor Aspects of Music MakingMusic PerformanceThe Acquisition of Motor SkillsAudio-Motor and Mirror Neuron SystemsQuantity of PracticeCognitive SkillsQuality of PracticeMental RehearsalMusic ReadingExpressive SkillsBody MovementMusical Cues for ExpressivenessMusical CreativityMemory and CreativityDivergent and Convergent ThinkingFlowImprovisationConclusionDiscussion QuestionsChapter 14. The Psychology of Music LearningPsychoanalysisBehavioral PsychologyCognitive ApproachesHumanistic PsychologyGestalt PsychologyDevelopmental PsychologySocial Psychology Cognitive PsychologyTaxonomiesMusic IntelligenceMusic Cognition, Music Learning, and Reflective ThinkingCognitive NeuroscienceCognitive Load TheoryExplicit InstructionWorked ExamplesConnectivismLearning StylesMusic Teaching and LearningConclusionDiscussion QuestionsChapter 15. Music and HealthMusic TherapyAlzheimer's Disease AutismCerebral PalsyDyslexiaParkinson's Disease and StrokePremature and Newborn InfantsPsychiatric DisordersMusic MedicineAphasia Stress, Pain, Anxiety, and the Immune SystemPerforming Arts MedicineHearing HealthMM6.4Vocal HealthBodily HealthPsychosocial HealthPerformance AnxietyOther Mental Health IssuesMusic and WellbeingConclusionDiscussion QuestionsChapter 16. Music in Social ContextsMusic in SocietyFrom Birth to DeathFrom Lowest to Highest Cognitive FunctioningFrom One Person to ThousandsReflections of Society in MusicSocial Behaviors among Performing MusiciansSocial Behaviors among Music ListenersThe Influence of Music on Social BehaviorsMusic as a Socializing AgentThe Influence of Music in the WorkplaceThe Influence of Music on Thought, Attitude, and Social BehaviorConclusionDiscussion QuestionsEpilogue: Ruminations on Music Psychology ResearchR1. What is music psychology, and who conducts music psychology research?R2. Interactions between philosophy and music psychologyR3. The triumvirate of theory, research and practiceR4. Basic and applied researchR5. Quantitative and qualitative researchR6. Formal and informal music experiencesR7. Global perspectivesR8. Toward a cultural music psychologyR9. ReplicationsR10. A music psychology research collaboratory