.

0 (hodnocen0 x )

BK

First published

Oxford : Oxford University Press, 2008

xi, 476 stran : ilustrace ; 24 cm

ISBN 978-0-19-856742-4 (brožováno)

Dotisk 2013

Obsahuje bibliografii na stranách 361-443 a rejstříky

001479382

Contents // Preface v // 1 The social and applied psychology of music 1 // 2 Composition and musicianship 13 // 2.1 Creativity 14 // 2.1.1 The concept of creativity 14 // 2.1.2 The creative process 15 // 2.1.3 Theories of creativity 17 // 2.2 Composition, eminence, and fashion 23 // 2.2.1 Biographical influences on composition and eminence 25 // 2.2.2 The clockwork muse 32 // 2.2.3 Melodic originality and eminence 37 // 2.2.4 Collaboration 40 // 2.3 Musicianship 42 // 2.3.1 Personality and identity 42 // 2.3.2 Environment, motivation, and musical skill 51 // 2.3.3 Performance 60 // 2.3.4 The‘Mozart effect’ 70 // 3 Musical preference and taste 75 // 3.1 The music 75 // 3.1.1 Experimental aesthetics 76 // 3.1.2 Subjective complexity and repetition 81 // 3.1.3 Preference for prototypes 84 // 3.2 The listening situation 89 // 3.2.1 Konecni’s arousal-based approach 89 // 3.2.2 Appropriateness, typicality, and arousal-based goals 93 // 3.2.3 Compliance and prestige 97 // 3.3 The listener 101 // 3.3.1 Social class, taste publics, and massification 102 // 3.3.2 Age 106 // 3.3.3 Sex 113 // 3.3.4 Personality 115 // 3.3.5 Musical training and ability 122 // X CONTENTS // 3.4 The reciprocal response model 123 // 3.5 Emotional responses to music 126 // 3.5.1 The circumplex model 128 // 3.5.2 Intrinsic and extrinsic meaning 132 // 3.5.3 Strong experiences of music 136 // 3.6 Music in everyday life 138 // 4 ‘Problem music’ and subcultures 143 // 4.1 Campaigns and protests: the filth

and the fury 144 // 4.1.1 Media effects and adolescent stereotyping 151 // 4.2 Prevalence and content of pop music media 153 // 4.2.1 Prevalence of pop music 154 // 4.2.2 Content of pop music 156 // 4.3 Effects of problem music on thoughts and behaviours 165 // 4.3.1 Delinquency and criminality 166 // 4.3.2 Illegal drugs 174 // 4.3.3 Permissive sexual attitudes 183 // 4.3.4 Sexual and racial discrimination 186 // 4.3.5 Self-harm and suicide i93 // 4.3.6 (Mis)Interpretation of lyrics 200 // 4.4 Is there a case for censorship? 205 // 4.4.1 Biases in the evaluation of problem music 205 // 4.4.2 Summary and implications for censorship 211 // 4.5 Musical subcultures 217 // 4.5.1 Music as a‘badge’ 218 // 4.5.2 The uses and gratifications approach 225 // 4.5.3 Idolisation of musicians 229 // 5 Music, business, and health 237 // 5.1 The music industry 238 // 5.1.1 Tin Pan Alley and music industry innovation 238 // 5.1.2 Superstardom 242 // 5.1.3 Music purchasing 244 // 5.1.4 Music piracy 250 // 5.1.5 Radio programming 254 // 5.2 Music and advertising 256 // 5.2.1 Classical conditioning 257 // 5.2.2 Elaboration likelihood, involvement, and musical fit 258 // 5.2.3 Sonic branding, jingles, and sponsorship 264 // CONTENTS xi // 5.3 Music in commercial environments 267 // 5.3.1 Pleasure and arousal-based effects 270 // 5.3.2 Knowledge activation effects 27& // 5.3.3 Time perception and waiting 2&3 // 5.3.4 Workplace morale and productivity 292 // 5.4 Music and health 297 // 5.4.1 Models

of music therapy 298 // 5.4.2 Music and physical health 301 // 6 Musical development and education 313 // 6.1 Musical development 3Í5 // 6.1.1 The socio-cultural perspective 315 // 6.1.2 Biological predispositions and the social context 326 // 6.1.3 Does musical and artistic development proceed in stages? 327 // 6.1.4 Is musical development domain-specific? 330 // 6.1.5 Normative and expert development in music 332 // 6.1.6 Theoretical models of musical development 333 // 6.2 Music education 338 // 6.2.1 Contexts of music education 339 // 6.2.2 Aims and objectives 345 // 6.2.3 Learning and teaching 349 // 6.3 Conclusion 355 // 7 Concluding remarks 357 References 361 // Name Index 445 Subject Index 467