Table of Contents

Part 1: The origins and functions of music
1: Ian Cross: The nature of music and its evolution
2: Catherine J. Stevens and Tim Bryon: Universals in music processing: Entrainment, acquiring expectations and learning
3: Ian Cross and Elizabeth Tolbert: Music and meaning
4: Martin Clayton: The social and personal functions of music in cross-cultural perspective
Part 2: Music perception
5: Thomas Stainsby & Ian Cross: The perception of pitch
6: Psyche Loui: Absolute pitch
7: Emmanuel Bigand and Bénédicte Poulin-Charronnat: Tonal cognition
8: Stephen McAdams and Bruno L. Giordano: The perception of musical timbre
9: Mari Riess Jones: Musical time
10: Mark A. Schmuckler: Tonality and contour in melodic processing
11: Bob Snyder: Memory for music
Part 3: Responses to music
12: Donald A. Hodges: Bodily Responses to Music
13: Patrik N. Juslin: Emotional reactions to music
14: Alf Gabrielsson: The relationship between musical structure and perceived expression
15: David Huron: Aesthetics
16: Donald A. Hodges: The neuroaesthetics of music
17: Alika Greasley and Alexandra Lamont: Musical preferences
Part 4: Music and the Brain
18: Laurel J. Trainor and Robert J. Zatorre: The neurobiology of musical expectations from perception to emotion
19: Psyche Loui: Disorders of music cognition
20: Simone Dalla Bella: Music and brain plasticity
21: Sebastian Jentschke: The relationship between music and language
22: Daniel J. Cameron and Jessica A. Grahn: The neuroscience of rhythm
Part 5: Musical development
23: Richard Parncutt: Prenatal development and the phylogeny and ontogeny of musical behaviour
24: Sandra E. Trehub: Infant musicality
25: Alexandra Lamont: Music development from the early years onwards
26: E. Glenn Schellenberg: Music training and nonmusical abilities
Part 6: Learning musical skills
27: Gary McPherson and Susan Hallam: Musical potential
28: Harald Jørgensen and Susan Hallam: Practicing
29: Helena Gaunt and Susan Hallam: Individuality in the learning of musical skills
30: Susan Hallam: Motivation to learn
31: Andrea Creech: The role of the family in supporting learning
32: Graham Welch and Adam Ockelford: The role of the institution and teachers in supporting learning
Part 7: Musical performance
33: Eckart Altenmüller & Shinichi Furuya: Planning and performance
34: Andreas Lehmann and Reinhardt Kopiez: Sight reading
35: Roger Chaffin, Alexander P. Demos and Topher Logan: Performing from memory
36: Jane W. Davidson and Mary C. Broughton: Bodily Mediated Coordination, Collaboration, and Communication in Music Performance
37: Patrik N. Juslin and Erik Lindstrom: Emotion in music performance
38: Erica Bisesi and W. Luke Windsor: Expression and communication of structure in music performance: measurements and models
39: Dianna Theadora Kenny and Bronwen J. Ackermann: Optimizing physical and psychological health in performing musicians
Part 8: Composition and improvisation
40: Jonathan Impett: Making a mark: The psychology of composition
41: Richard Ashley: Musical Improvisation
42: Peter R. Webster: Pathways to the Study of Music Composition by Preschool to Precollege Students
Part 9: The role of music in our everyday lives
43: Alexandra Lamont, Alika Greasley and John Sloboda: Choosing to hear music: motivation, process, and effect
44: Annabel J. Cohen: Music in performance arts: Film, theatre and dance
45: Alf Gabrielsson, John Whaley and John Sloboda: Peak experiences with music
46: David J. Hargreaves, Raymond MacDonald and Dorothy Miell: Musical identities
47: Susan Hallam and Raymond MacDonald: The effects of music in community and education settings
48: Adrian C. North, David J. Hargreaves and Amanda E. Krause: Music and consumer behavior
Part 10: Music Therapy
49: Shannon De l'Etoile: Processes of music therapy: Clinical and Scientific Rationales and Models
50: Corene Hurt-Thaut: Clinical Practice in music therapy
51: Barabara L. Wheeler: Research in music therapy
52: Stefan Mainka, Ralph K. W. Spintge and Michael Thaut: Music Therapy in Medical and Neurological Rehabilitation Settings
Part 11: Conceptual frameworks, research methods and future directions
53: Adam Ockelford: Beyond Music Psychology
54: Michael Thaut: History and research
55: Susan Hallam, Ian Cross and Michael Thaut: Where now?

About the Author

Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991 in the department of Educational Psychology at the Institute. Her research interests include disaffection from school, ability grouping and homework and issues relating to
learning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is past editor of Psychology of Music, Psychology of Education
Review and Learning Matters. She has twice been Chair of the Education Section of the British Psychological Society, and is currently treasurer of the British Educational Research Association, an auditor for the Quality Assurance Agency and an Academician of the Learned Societies for the Social Sciences Ian Cross teaches at the University of Cambridge where he is Reader in Music & Science, Director of the Centre for Music & Science and a Fellow of Wolfson College. He has
published widely in the field of music cognition. His principal research focus at present is on music as a biocultural phenomenon, involving collaboration with psychologists, anthropologists, archaeologists and computational
neuroscientists. His research explores the biological and cultural bases for human musicality, in particular, the mechanisms underlying the capacity for achievement and maintenance of inter-individual synchrony of behaviour, those underlying the experience of meaning in engagement with music, and those involved in the cognition and perception of multi-levelled structure in both music and language. Michael H Thaut received his masters and PhD in music from Michigan State University. He is also a
graduate of the Mozarteum Music Conservatory in Salzburg/Austria. At Colorado State University he is a Professor of Music and a Professor of Neuroscience and serves as Executive Director of the School
of the Arts and Chairman of the Dept of Music, Theater, and Dance. He has also directed the Center for Biomedical Research in Music for 12 years. Dr Thaut's internationally recognized research focuses on brain function in music, especially time information processing in the brain related to rhythmicity and biomedical applications of music to neurologic rehabilitation of cognitive and motor function. He has received both the National Research Award and the National Service Award from the
American Music Therapy Association. He is an elected member of the World Academy of Multidisciplinary Neurotraumatology and in 2007 he was elected President of the International Society for Clinical
Neuromusicology.

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