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Music psychology

Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life.[1][2] Modern music psychology is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. Music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human attitude, skill, performance, intelligence, creativity, and social behavior.

Music psychology can shed light on non-psychological aspects of musicology and musical practice. For example, it contributes to music theory through investigations of the perception and computational modelling of musical structures such as melody, harmony, tonality, rhythm, meter, and form. Research in music history can benefit from systematic study of the history of musical syntax, or from psychological analyses of composers and compositions in relation to perceptual, affective, and social responses to their music.

History[edit]

Early history (pre-1850)[edit]

The study of sound and musical phenomena prior to the 19th century was focused primarily on the mathematical modelling of pitch and tone.[3] The earliest recorded experiments date from the 6th century BCE, most notably in the work of Pythagoras and his establishment of the simple string length ratios that formed the consonances of the octave. This view that sound and music could be understood from a purely physical standpoint was echoed by such theorists as Anaxagoras and Boethius. An important early dissenter was Aristoxenus, who foreshadowed modern music psychology in his view that music could only be understood through human perception and its relation to human memory. Despite his views, the majority of musical education through the Middle Ages and Renaissance remained rooted in the Pythagorean tradition, particularly through the quadrivium of astronomy, geometry, arithmetic, and music.[3]


Research by Vincenzo Galilei (father of Galileo) demonstrated that, when string length was held constant, varying its tension, thickness, or composition could alter perceived pitch. From this, he argued that simple ratios were not enough to account for musical phenomenon and that a perceptual approach was necessary. He also claimed that the differences between various tuning systems were not perceivable, thus the disputes were unnecessary. Study of topics including vibration, consonance, the harmonic series, and resonance were furthered through the scientific revolution, including work by Galileo, Kepler, Mersenne, and Descartes. This included further speculation concerning the nature of the sense organs and higher-order processes, particularly by Savart, Helmholtz, and Koenig.[3]

Research areas[edit]

Perception and cognition[edit]

Much work within music psychology seeks to understand the cognitive processes that support musical behaviors, including perception, comprehension, memory, attention, and performance. Originally arising in fields of psychoacoustics and sensation, cognitive theories of how people understand music more recently encompass neuroscience, cognitive science, music theory, music therapy, computer science, psychology, philosophy, and linguistics.[11][12]

everyday music listening

musical and gatherings (e.g. religious, festive, sporting, political, etc.)

rituals

the role of music in forming and group identities

personal

the relation between music and

dancing

on musical preference (peers, family, experts, social background, etc.)

social influences

the effectiveness of music in healthcare and therapeutic settings

music-specific disorders

musicians' physical and mental health and well-being

[110]

music performance anxiety (MPA, or )

stage fright

burnout, and depression among musicians

motivation

among musicians

noise-induced hearing loss

Sleep onset and maintenance

insomnia

Music Perception

Musicae Scientiae

Psychology of Music

Psychomusicology: Music, Mind, and Brain

Music & Science

Jahrbuch Musikpsychologie

[111]

Music psychology journals include:


Music psychologists also publish in a wide range of mainstream musicology, computational musicology, music theory/analysis, psychology, music education, music therapy, music medicine, and systematic musicology journals. The latter include for example:

Asia-Pacific Society for the Cognitive Sciences of Music (APSCOM)

Australian Music & Psychology Society (AMPS)

Deutsche Gesellschaft für Musikpsychologie (DGM)

(ESCOM)

European Society for the Cognitive Sciences of Music

Japanese Society for Music Perception and Cognition (JSMPC)

Society for Education, Music and Psychology Research (SEMPRE)

Society for Music Perception and Cognition (SMPC)

Cognitive musicology

Cognitive neuroscience of music

Performance science

Psychoacoustics

Psychoanalysis and music

Music and emotion

Music-specific disorders

Music therapy

Palmer, Caroline & Melissa K. Jungers (2003): Music Cognition. In: Lynn Nadel: Encyclopedia of Cognitive Science, Vol. 3, London: Nature Publishing Group, pp. 155–158.

Deutsch, Diana (2013): Music. In Oxford Bibliographies in Music. Edited by Dunn, D.S. New York: . 2013, Web Link

Oxford University Press

Thompson, William Forde (2014): "". Sage Publications Inc., New York. ISBN 978-1-4522-8303-6

Music in the Social and Behavioral Sciences, An Encyclopedia

Media related to Music psychology at Wikimedia Commons