"Chapter titles show continuing interest in many of the traditional topics--rhythm, melody, scales, musical ability, the nature of sound--and also in newer areas of inquiry, e.g., the neuropsychological study of musical perception. The editor has succeeded admirably in making this edition a valuable and timely resource for musicians and psychologists at the upper-division undergraduate level and above."
--CHOICE, reviewed by W. M. Bigham, Emeritus, Morehead State University, March 1999
"I have on the shelf next to my desk several dozen excellent books about music perception and cognition, but none is more dog-eared or more used than The Psychology of Music,
first edition. With that 1982 text, Deutsch accomplished for our field what Neisser did for cognitive psychology in 1967. By her choice of topics and authors, Deutsch made a bold claim to define those problems that ought to interest us (and in fact did). The Second Edition includes five excellent new chapters (worth the price of the book on their own) and substantially updated versions of the remaining 13 chapters. The first edition's influence on the field makes a compelling argument for the purchase of this updated and revised version, certain to be a blueprint for new research and a leading resource for many years to come."
--Daniel J. Levitin, Stanford University and The University of California at Berkeley in MUSIC PERCEPTION, Vol. 16, #4, 1999
"This Second Edition is a significant update of the First Edition and is sure to maintain its position as one of the most useful collections of literature about the psychology of music."
--AUSTRALIAN JOURNAL OF PSYCHIATRY
From the Back Cover
The aim of the psychology of music is to understand musical phenomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since publication of the first edition of The Psychology of Music,
the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology as a result of several factors. First, the opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but is now available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common, and to a large extent these two groups speak a common language and agree on basic philosophical issues.The Psychology of Music, Second Edition
has been completely revised to bring the reader the most up-to-date information and additional subject matter, and new contributions examine all of these important developments. The book is intended as a comprehensive reference source for musicians, psychologists, and students interested in and studying this exciting psychological discipline.