J.R. Pierce, The Nature of Musical Sound.
M.R. Schroeder, Concert Halls: From Magic to Number Theory.
N.M. Weinberger, Music and the Auditory System.
R. Rasch and R. Plomp, The Perception of Musical Tones.
J-C. Risset and D.L. Wessel, Exploration of Timbre by Analysis and
Synthesis.
J. Sundberg, The Perception of Singing.
E.M. Burns, Intervals, Scales, and Tuning.
W.D. Ward, Absolute Pitch.
D. Deutsch, Grouping Mechanisms in Music.
D. Deutsch, The Processing of Pitch Combinations.
J.J. Bharucha, Neural Nets, Temporal Composites, and Tonality.
E. Narmour, Hierarchical Expectation and Musical Style.
E.F. Clarke, Rhythm and Timing in Music.
A. Gabrielsson, The Performance of Music.
W.J. Dowling, The Development of Music Perception and
Cognition.
R. Shuter-Dyson, Musical Ability.
O.S.M. Marin and D.W. Perry, Neurological Aspects of Music
Perception and Performance.
E.C. Carterette and R.A. Kendall, Comparative Music Perception and
Cognition.
Index.
"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
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