Music in the Human Experience: An Introduction to Music Psychology
Music in the Human Experience: An Introduction to Music Psychology
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人类体验中的音乐：音乐心理学导论
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发表时间：
2012
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通讯作者：
S. Lipscomb
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作者：
S. Lipscomb
人类经验中的音乐：音乐心理学导论。Hodges和大卫C.西博尔德2011年，华盛顿特区。439页。ISBN：978-0-415-88186-9。平装本64.95美元，精装本140美元。过去五年被证明是音乐心理学跨学科领域书籍的丰富时期;特别是，为大学音乐心理学课程的潜在用途而出版的介绍性书籍数量激增（例如，Lehmann，斯洛博达，& Woody，2007; Tan，Pfordresher，& Harre，2010; Thompson，2009）. 2011年，另一个令人印象深刻的条目出现了，由唐纳德A。霍奇斯（北卡罗来纳州格林博罗大学音乐研究所所长）和大卫C。Sebald（德克萨斯大学圣安东尼奥分校）。作为一名教师，在过去的16年里，音乐学院的音乐课心理学一直是我教学工作的一部分，我认为这组非常高质量的教科书的到来-以及其他没有在这里明确引用的教科书-非常受欢迎。我自己教授这门课程的方法是分配一个组织良好的，这本书介绍了我在本课程中讨论的许多埃森主题，但也需要大量的课外阅读--有些是指定的，有些是学生自己发现的--每周的反思是基于这些阅读并提交学分。在过去的十五年里，我改变了我的教科书选择，使用资源丰富的书籍（例如，多伊奇，1999年），即将可访问的书籍（例如，Eddain，1998），或者跨越学术参考和可访问的入门之间的界限的书籍（例如，Lehmann等人，2007年）。Hodges and Sebald（2011）的文本显然福尔斯最后一类。这本书的另一个非常吸引人的方面是它附带了一张光盘，其中包含了一套令人印象深刻的多媒体“教程”（稍后将详细介绍）。作者将重点放在这本书的明确定义的受众：“大学音乐学生”（第xv页）。不像其他音乐psychol- ogy文本，试图迎合音乐家和心理学家，这本书绝对是（和毫无歉意）为训练有素的音乐家。从标题中可以看出，Lehmann et al.（2007）也是“音乐家”，但不需要Hodges和Sebald（2011）所需的音乐理解水平。在这后一个文本，读者希望知道如何阅读乐谱，并反映了一些相对较高水平的音乐表演经验。在从广泛的学科中获取信息（包括基本的实验结果）后，作者明确表示，他们的观点“总是经过过滤的”。. .通过[他们的]音乐镜头”（pxvi）。虽然提出了一系列高度复杂的主题，文本仍然可以访问其预期的观众，成功地在“平衡[ing]广度和深度”整个领域（pxvi）。本书的组织结构通过使用每章一致的介绍性、过渡性和结论性元素向读者明确表示。16章分为三个较大的“部分”：（I）介绍音乐心理学;（II）感知，理解和回应音乐;（III）成为音乐家。作者做了一个高超的工作，提供概述在开始的每一个这些较大的部分，奠定了基础，其中包含的主题，并提供重要的上下文信息。第一部分概述了跨学科领域，它的哲学基础，解释了人类如何成为音乐家，并对来自地球仪的音乐进行了分类和区分。第2部分介绍音乐声学的基础知识、听力机制的生理学、心理声学、音乐认知、神经科学以及对音乐的生理和情感反应。…
Music in the Human Experience: An Introduction to Music Psychology, by Donald A. Hodges and David C. Sebald. Routledge, 2011. 439 pp. ISBN: 978-0-415-88186-9. $64.95 paperback, $140 hardcover.The past five years have proven to be a rich period for books on the topic of the interdisciplinary field of music psychology; spe- cifically, the number of introductory books published for potential use in a university music psychology course has blossomed (e.g., Lehmann, Sloboda, & Woody, 2007; Tan, Pfordresher, & Harre, 2010; Thompson, 2009). In 2011, another impressive entry emerged, coauthored by Donald A. Hodges (director of the Music Research Institute at the University of North Carolina at Greens- boro) and David C. Sebald (The University of Texas at San Antonio). As a faculty member for whom the psychology of music class within a School of Music context has been part of my teaching load for the past 16 years, I consider the arrival of this group of very high-quality textbooks-along with others not ex- plicitly referenced here- extremely welcome.My own approach to teaching this course is to assign a well- organized, accessible textbook that introduces many of the essen- tial topics I address in the course, but to also require numerous external readings-some assigned, some discovered by the stu- dents themselves- upon which weekly reflections are based and submitted for credit. During the past decade and a half, I have varied my textbook choices, using books that are heavily resourced (e.g., Deutsch, 1999), books that are imminently accessible (e.g., Jourdain, 1998), or books that straddle the line between scholarly references and accessible primers (e.g., Lehmann et al., 2007). It is into the last category that the text by Hodges and Sebald (2011) clearly falls. The inclusion of a CD-ROM containing an impressive set of multimedia "tutorials" (more about that later) is another very attractive aspect of this particular entry into the market.The authors focus on a clearly defined audience for this book: "university music students" (p. xv). Unlike other music psychol- ogy texts that attempt to cater to both musicians and psychologists, this book is definitely (and unapologetically) for trained musicians. As is evident from its title, Lehmann et al. (2007) is also "for musicians" but does not require the level of musical understanding necessary for Hodges and Sebald (2011). Throughout this latter text, readers are expected to know how to read musical notation and to reflect on some relatively high-level musical performance experiences. Having derived information-including essential em- pirical results-from a wide array of disciplines, the authors are explicit about the fact that their perspective is "always filtered . . . through [their] musical lenses" (p. xvi).Although a series of highly complex topics is presented, the text remains accessible to its intended audience, succeeding beautifully in "balanc[ing] breadth and depth" across the field (p. xvi). The organizational structure of the book is made clear to the reader through the use of introductory, transitional, and concluding ele- ments that are consistent for each chapter. The 16 chapters are divided into three larger "parts": (I) Introducing Music Psychol- ogy; (II) Perceiving, Understanding, and Responding to Music; and (III) Being Musical. The authors do a superb job of providing overviews at the beginning of each of these larger sections, laying the foundation for the topics contained therein and providing important contextual information. Part 1 provides an overview of the interdisciplinary field, its philosophical foundations, an expla- nation for how humans came to be musical, and an acknowledg- ment of and differentiation between musics from around the globe. Part 2 introduces basics of musical acoustics, physiology of the hearing mechanism, psychoacoustics, music cognition, neurosci- ence, and physiological and emotional responses to music. …