| 000 | 01791 a2200265 4500 | ||
|---|---|---|---|
| 001 | 1138877093 | ||
| 005 | 20250317100410.0 | ||
| 008 | 250312042015GB eng | ||
| 020 | _a9781138877092 | ||
| 037 |
_bTaylor & Francis _cGBP 53.99 _fBB |
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| 040 | _a01 | ||
| 041 | _aeng | ||
| 072 | 7 |
_aJMR _2thema |
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| 072 | 7 |
_aJMR _2bic |
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| 072 | 7 |
_aPSY000000 _2bisac |
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| 072 | 7 |
_aPSY008000 _2bisac |
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| 072 | 7 |
_a781.1 _2bisac |
|
| 100 | 1 | _aIrene Deliege | |
| 245 | 1 | 0 | _aPerception And Cognition Of Music |
| 250 | _a1 | ||
| 260 |
_aOxford _bPsychology Press _c20150522 |
||
| 300 | _a480 p | ||
| 520 | _bThis text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind. | ||
| 700 | 1 |
_aJohn A. Sloboda _4B01 |
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| 999 |
_c2255 _d2255 |
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