1. The social and applied psychology of music --
... 2. Composition and musicianship -- 2.1. Creativity -- 2.1.1. The concept of creativity -- 2.1.2. The creative process -- 2.1.3. Theories of creativity -- 2.2. Composition, eminence, and fashion -- 2.2.1. Biographical influences on composition and eminence -- 2.2.2. The clockwork muse -- 2.2.3. Melodic originality and eminence -- 2.2.4. Collaboration -- 2.3. Musicianship -- 2.3.1. Personality and identity -- 2.3.2. Environment, motivation, and musical skill -- 2.3.3. Performance -- 2.3.4. The 'Mozart effect' -- 3. Musical preference and taste -- 3.1. The music -- 3.1.1. Experimental aesthetics -- 3.1.2. Subjective complexity and repetition -- 3.1.3. Preference for prototypes -- 3.2. The listening situation -- 3.2.1. Konečni's arousal-based approach -- 3.2.2. Appropriateness, typicality, and arousal-based goals -- 3.2.3. Compliance and prestige -- 3.3. The listener -- 3.3.1. Social class, taste publics, and massification -- 3.3.2. Age -- 3.3.3. Sex -- 3.3.4. Personality -- 3.3.5. Musical training and ability -- 3.4. The reciprocal response model -- 3.5. Emotional responses to music -- 3.5.1. The circumplex model -- 3.5.2. Intrinsic and extrinsic meaning -- 3.5.3. Strong experiences of music -- 3.6. Music in everyday life -- 4. 'Problem music' and subcultures -- 4.1. Campaigns and protests : the filth and the fury -- 4.1.1. Media effects and adolescent stereotyping -- 4.2. Prevalence and content of pop music media -- 4.2.1. Prevalence of pop music -- 4.2.2. Content of pop music -- 4.3. Effects of problem music on thoughts and behaviours -- 4.3.1. Delinquency and criminality -- 4.3.2. Illegal drugs -- 4.3.3. Permissive sexual attitudes -- 4.3.4. Sexual and racial discrimination -- 4.3.5. Self-harm and suicide -- 4.3.6. (Mis)Interpretation of lyrics -- 4.4. Is there a case for censorship? -- 4.4.1. Biases in the evaluation of problem music -- 4.4.2. Summary and implications for censorship -- 4.5. Musical subcultures -- 4.5.1. Music as a 'badge' -- 4.5.2. The uses and gratifications approach -- 4.5.3. Idolisation of musicians -- 5. Music, business, and health -- 5.1. The music industry -- 5.1.1. Tin Pan Alley and music industry innovation -- 5.1.2. Superstardom -- 5.1.3. Music purchasing -- 5.1.4. Music piracy -- 5.1.5. Radio programming -- 5.2. Music and advertising -- 5.2.1. Classical conditioning -- 5.2.2. Elaboration likelihood, involvement, and musical fit -- 5.2.3. Sonic branding, jingles, and sponsorship -- 5.3. Music in commercial environments -- 5.3.1. Pleasure and arousal-based effects -- 5.3.2. Knowledge activation effects -- 5.3.3. Time perception and waiting -- 5.3.4. Workplace morale and productivity -- 5.4. Music and health -- 5.4.1. Models of music therapy -- 5.4.2. Music and physical health -- 6. Musical development and education -- 6.1. Musical development -- 6.1.1. The socio-cultural perspective -- 6.1.2. Biological predispositions and the social context -- 6.1.3. Does musical and artistic development proceed in stages? -- 6.1.4. Is musical development domain-specific? -- 6.1.5. Normative and expert development in music -- 6.1.6. Theoretical models of musical development -- 6.2. Music education -- 6.2.1. Contexts of music education -- 6.2.2. Aims and objectives -- 6.2.3. Learning and teaching -- 6.3. Conclusion -- 7. Concluding remarks -- References -- Name index -- Subject index. Read More
Book
Add to basket
Permalink
Disable Highlighting