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Psychology for Musicians: Understanding and Acquiring the Skills Hardcover – February 8, 2007

ISBN-13: 978-0195146103 ISBN-10: 0195146107 Edition: 1st

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Psychology for Musicians: Understanding and Acquiring the Skills + This Is Your Brain on Music: The Science of a Human Obsession + Musicophilia: Tales of Music and the Brain, Revised and Expanded Edition
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Product Details

  • Hardcover: 288 pages
  • Publisher: Oxford University Press; 1 edition (February 8, 2007)
  • Language: English
  • ISBN-10: 0195146107
  • ISBN-13: 978-0195146103
  • Product Dimensions: 9.4 x 1.2 x 6.1 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #1,010,223 in Books (See Top 100 in Books)

Editorial Reviews

Review


"This is a well-considered book by three familiar and extremely influential figures within their field, professional academics with distinct specialisation and musical competency."--Denise Borland, Singing


"This book is a much-needed reference and text for expanding our awareness and use of psychology's formative role in teaching, learning, and performing music. The authors begin by identifying folk wisdom that has guided performance and teaching practices in music. They then proceed to present and clarify the psychological principles that influence the various outcomes of music. The focus on musical skills ranges from musical memory to improvisation, with a unique closing to each chapter--a self-study that requires reflection on the material presented in the chapter and also on the implementation and explanation of our psychological knowledge in teaching, learning, and performing. The use of valid research studies as documentation makes this book a page-turner: the user will be reluctant to put it down."--Richard Colwell, co-editor The New Handbook of Research on Music Teaching and Learning, Professor Emeritus, University of Illinois


"This book impressively bridges the gap between psychological insights into music making and the music practitioner's need for concise explanations. Its twelve readily comprehensible chapters and its innovative self-study exercises, study questions, and cultural contextualizations make it an ideal textbook for all musicians wishing to become informed performers and music teachers."--Reinhard Kopiez, Professor of Music Psychology, Hanover University of Music and Drama, Germany


"This book is written by three outstanding musicians active in the fields of psychology for musicians, teaching, and performing, working together as an interdisciplinary team. It provides a great source for students of psychology who are eager to know more about music and the mind, music making, and listening. It is the kind of book that musicians and performers will be referring to for years to come. Highly recommended."--Maurice Hinson, Senior Professor of Piano, School of Church Music and Worship, The Southern Baptist Theological Seminary, Louisville, Kentucky


About the Author


Andreas C. Lehmann is Professor of (Systematic) Musicology at the Hochschule für Musik in Würzburg, Germany.

John Sloboda is Professor of Psychology at Keele University. A Fellow of the British Psychological Society, he has been President of both the Psychology and General Sections of the British Association for the Advancement of Science, as well as President of the European Society for the Cognitive Sciences of Music.

Robert Woody is Associate Professor of Music Education at the University of Nebraska-Lincoln School of Music.

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Most Helpful Customer Reviews

16 of 18 people found the following review helpful By Peter L. Forte on October 19, 2008
Format: Hardcover Verified Purchase
As a formally trained pianist and clarinetist and an informally trained drummer I have found this book very insightful and informative. This book is very scientific and very real. Numerous studies have been cited and all the information is scientifically backed. This is what makes it so useful for teachers and students. Specific techniques and methods for teaching and learning are combined with a stimulating mix of philosophy and psychology.

From a book lover's perspective, this is not exactly an easy or fun read. I enjoy reading almost anything and I certainly enjoyed this book, however, if you're not a teacher, or someone who has a direct need to study teaching methodology, there are other books that are far more adventurous about the psychology of music and how our brains injest and interpret different aural stimuli. Two particularly fascinating books on this subject are "The Tao of Music," by John Ortiz, and "Music, the Brain, and Estacy," by Robert Jourdain.

As a former music major at the University of New Haven, I feel like this book should start appearing as a required text for many relevant college classes. Also, anyone building a library or a collection of books on music should have this book.
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6 of 7 people found the following review helpful By Musician 35 on April 5, 2010
Format: Hardcover Verified Purchase
This book is a very detailed, comprehensive view of the music making process. It primarily refers to professional musicians, and the process by which they learn, memorize, play, compose, and improvise music. There is also some valuable information on performance anxiety that almost all musicians deal with. While it is great to finally see such detailed studies to "prove our worth" as musicians, this book is very wordy. A lot of what is said could have been shortened to a few paragraphs per topic, because, to the professional music, it is mostly common sense.
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Format: Hardcover
I use this as the primary text for a psychology of music course I teach (a graduate course for music educators). Full disclosure: I know two of the authors from their time at Florida State University. The book is excellent on several fronts: it is current with psychological research, and it includes the leading studies in the field without becoming bogged down in references. It is an easy read overall, which students appreciate. Cross cultural features occur throughout the text, often to point out alternatives to research which has tended to focus on understanding music from a Western classical standpoint. There's also good support for approaches to music that are becoming more important in schools: teaching to improvise, compose, and work with popular/informal/vernacular/democratic musics and pedagogies. The text is appropriately generous to the recent research in these areas, and also provides ample support for those interested in offering music education with a more generous conception of music.

I'm glad to have this book as a resource, and a reference. As the previous paragraph hints, this reviewer finds that much psychological research in music suffers from narrow conceptions of music, what Sloboda has called the "pharmaceutical model" of research. This book works well in putting forth the best of the psychological approach while situating this research within the larger world of music.
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By KM on April 17, 2013
Format: Hardcover Verified Purchase
This book is a great resource. I am currently in a Psych of music class and it is helping a lot!
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