BOOK REVIEWS 255

The Musical Mind: The Cognitive Psychology of Music

John A. Sloboda

(New York: Oxford Press, 1985, 291 pages, $36.00)

In the expanding literature of the psychology the process with all the organization and objec-
of music, John Sloboda has, in a sense, put the tivity the topic permits. The four methods of in-
‘horse before the cart.’ In music education and quiry include the historical aspects of a composi-
music therapy, we are primarily concerned with tion and its relation to the composer, what com-
the effect of music on the listener in overt terms, posers say about their own works, actual obser-
i.e., affect, aesthetic response, and overall influ- vations of a composer at work, and observation
ence on musical and nonmusical behavior. We of improvisatory performances. In the section,
study this material because we are in the fields “Observation of a Composer at Work,” Sloboda
which require us to affect behavior and learning dictates the compositional process of one of his
through music. Granted, a large degree of musi- own works, and the reader becomes involved in
cal competency was prerequisite to our study. his composition and its development. Although
However, one would presume that we should this is not a highly empirical report, Sloboda ar-
understand how music is created and processed ticulates how the compositional ‘wheels’ turn, if
in the musician’s mind, thus creating a product, only through his experience, giving the reader a
before we can investigate that product’s effect on step-by-step description of the process.
the listener. The chapters on musical listening and learning
The purpose of this book is to examine what are equally meticulous. Here, the tone of the text
the musician actually does, how he/she thinks turns to the passive processes in music as op-
and creates musically. In doing so, the readers posed to composition and performance. How-
(who, at the author’s suggestion, should have a ever, it is the dogged reference to cognitive sys-
moderate amount of musical expertise) gain a tems that separate this information from other
greater understanding of “the mental bases of psychology of music works that cover the topics
their skills.” Although many psychology of on more overt levels. Sloboda examines learning
music texts touch on this approach, The Musical through enculturation from a developmental
Mind is specifically organized to address musical point of view in chronological categories parallel-
behavior. ing, to a certain extent, Piaget, before going on to
The book is constructed so that the scope of specific musical skill acquisition. The chapter on
the material encompasses not only psychology learning concludes with a fortunately brief dis-
and psychology of music, but also the active cussion of assessment of music ability. Many
areas of music teaching, performance, and com- texts cover this material adequately while, in this
position. Sloboda has practically dissected the chapter, it seems to dilute the high level of
cognitive processes and sequences that take thought.
place in the course of musical practice, composi- The final chapter, “The Musical Mind in Con-
tion, listening, and learning. An example of this text: Culture and Biology,” begins with an excel-
specificity is his intricate comparison of language lent examination of music across cultures, what
and music, with particular attention given to the accounts for its differences and similarities. The
theories of Chomsky and Schenker. Another im- section on “Biology and Musical Thinking”
pressive example of his detailed investigation is briefly discusses musical processing in the brain
the section on practice and performance skills with particular attention given to hemispheric
where he examines components as specific as specialization. However, it is with the references
eye movement during reading. to evolution, first with regard to primate com-
I found the chapter on composition and im- parisons and then within the human species, that
provisation to be the most interesting. It is well- Sloboda makes a poignant conclusion to the
known that the teaching and measurement of book.
creative activity are elusive. Sloboda examined As a cognitive psychologist and musician,
 BOOK REVIEWS
Sloboda writes very well to both disciplines. The
vast amount of literature referred to throughout
the text is clearly reported, to the point, and
relevant. He consistently reminds the reader of
certain limitations and parameters of the book,
but in doing so refers us to keystone sources for
researching tangential topics. Many of the areas
and questions discussed in The Musical Mind re-
quire continued research before producing de-
finitive solutions, if, in fact, that is possible.
However, this scholarly work tackles many of
these areas of contemporary interest with objec-
tivity and rigor. Sloboda has written an excellent
Therapeutic DancelMovement:
Erna Caplow-Lindner,
(New York: Human Sciences
This book is exactly what its title suggests,
namely a basic, straightforward presentation of
movement exercises and activities for geriatric
clients with varying degrees of physical and
emotional limitation. Easy to read and a rich
source of specific ideas for anyone who wishes to
incorporate movement into a program for the el-
derly , it divides the exercises into three
categories of difficulty-for “Active Independ-
ent Older Citizens,” “Partially Disabled and
Relatively Restricted Older Persons,” and “Se-
verely Regressed, Depressed, and Disabled Pa-
tients.” Descriptions are mostly clear but, when
potentially confusing, are accompanied by line
drawings that make them easy to follow. With
warm-up exercises, breathing, relaxation, and
massage techniques, the authors include sections
on modified dances, music, props, situational
studies and pantomime, rhythmic instruments
and games, and special activities for specific
syndromes prevalent among the aged.
What this book is not is a discussion of dance
therapy with the elderly. Although some effort is
made to define dance therapy as well as mental
health issues and treatment with this population,
the themes are not expanded upon. Quoting a
New York psychiatrist, the authors state that
short-term psychotherapy and counseling for
people 60, 70, and beyond can be effective,
256
text that illustrates “how music is represented in
the mind . . . the real-life behavior of musi-
cians.” His book is highly recommended for all
musicians who have a serious academic in-
volvement in music.
Joseph P. Scartelli, PhD, RMT-BC
Program Director, Music Therapy
Radford University
Radford, Virginia
Member, Editorial Board
The Arts in Psychotherapy
Expressive Activities for Older Adults
Leah Harpaz and Sonya Samberg
Press, 1979, 275 pages, $9.95)
allowing clients “to talk of their feelings of isola-
tion, their physical problems, and their family
relationships . . . they are able to work through
negative attitudes and change undesired behavior
patterns so they can lead more productive and
enjoyable lives” (pp. 31-32). The authors go on
to say that movement sessions for the elderly are
ideally offered not only to ameliorate the damag-
ing effects of aging, but also for the expression of
emotions, tension release, and socialization
(p. 38). It isn’t clear why such “theoretical con-
siderations” are included at the beginning of the
book since they are not developed in the remain-
ing text. Having had them brought to my atten-
tion, I would like to have received a better sense of
how these issues appear and evolve in movement
sessions.
My one concern about this work is the temp-
tation it offers for a cookbook approach to dance
therapy with the elderly. This is clearly not
the authors’ intent and one hopes that the exer-
cises and activities will be used with sensitivity
and an eye toward the therapeutic process.
Trudie V. Loubet, MPS
Formerly of Suffolk Child Development Center
Pilgrim State Psychiatric Center
6225 Woodlawn Ave. N.
Seattle, WA 98103