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1. The Philopsophy of Music by Aaron Ridley, Edinburgh University Press, George squan Edinbrugh

This book is animated by one fairly simple conviction- that music is part of life. To anyone who loves music, musical experience occupies a position right at the centre. Isnt filed away in some self contained compartment to be visited from time to time when circumstances allow. In the form of themes running through ones head, sometimes for days; of pianos one cant quite walk past without brushing the keys; of snatches overheard, familiar but implacable, music can permeate the experience of even the least musical-seeming moments. As part of life, music also shaves song of life basic characteristics and conditions. Its for instance historical through and through. Musical sound change; where now we have computers once we had ,music role change music place in tribal dancing is different from its place in Christian ritual and neither is the same as its place in the Albert Hall at Grouchjo or at Yankee stadium. The book contains 5 chapters, each of theme divide into two parts. The first part of each chapter is intended both to set the scne, by introducing signification theme and topic, and to offer brief overview of the philosophical literature relevant to the argument of the second part; the second part of each chapter is where the meat is. In chapter 1 it explores a case in while autonomic prejudices suspended the nation of musical understanding is illuminated by consideration of what it is to understand world. In chapter 2 the author asks what might be meant by the claim that music can be representational when one doesnt assume that pieces of music are essentially were structure of sound, in chapter 3 he turn to musical expression; what ask is to be said about expressiveness if we dont a bitrarily presuppose that purely instrumental music is paradigm, in chapter 4 the argument against anthology is offered, by way of enquiry into musical performance. And chapter 5 he turns to the question of

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profundity how if the conclusions of previous chapter are right, might a piece of music be said to be profound?

2. Introduction to the psychology music Geza Revesz / Dover Publication,Inc New York 2001

Part 1 presents the physical and physiological bases of our sensation of tone. Knowledge of physical acoustics and of the physiology of the auditory apparatus does not; of course appertain to the psychology of music. But it forms the essential prerequisite to and at times even the point of departure of; research work in the psychology of sound. The question was whether it should be left to the reader himself to decide how and where the gatherer whether one should make a selection for him from the great mass of primary source material. Part 2 deal with the salient questions of the psychology of sound. The first two chapters give the result of the author research on the nature of tones and interval in connation with the two-component theory. These discussions of pitch discrimination and key characteristics have a direct bearing on this theory. Part 3 discusses various elements of the psychology of music. The chapter of musicality musical talent the enjoyment of music by deaf mutes, the pathology of musical perceptivity and origin of music are based on his investigations and research.

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3. Between

couch

and

piano

psychoanalysis,

music,

art

and

neuroscience, Gilbert J Rose / Bruner- routhledge 2004 Hove and New York.

This book links well, established psychoanalytic ideas with historical and neurological theory to help us begin to understand some of the reasons behind musics ubiquity and power. Drawing on new psychoanalytic understanding as well as advances in neurosciences, this book sheds light on the rolled of threats as stimulus, and as a key to creative awareness subject covered include music in relation to the trauma of loss music in connection with wholeness and the sense of identity The ability of music to jump start normal feelings motion and identity where these have been seemingly destroyed by

neurological disease The theory of therapy efficacy of music and art

4. Psychology of music by Carl E Seashor Dover Publications, INC New York 1967

The purpose of this book is to stimulate and guide the student of music in scientific observation and reasoning about its Art. It is therefore, not a summary of all the known facts on any subject, but rather a series of flashed, illustrating the scientific approach from as many angle as space and material permit in an elementary text book. Since the book is written for beginners, no technical description of apparatus or method is give except in most elementary general principle. Material for the student to work.

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5. Music and Memory by Bob Snyder 2002, The MIT Press USA Cambridge America) Massachusetts London England (United State of

This book present basic idea about memory and perception from cognitive psychology and to some extent, from cognitive linguistics, many issues about exactly what happens in echoic memory and the early stages of processing have not settled. Chapter 2 present the take on such consensus as exists in the field at this time. Chapter 3 considers the preceptors results of early processing. Chapter 4 deal with short term memory whole imitation from many important constraints on perception and memory. These constraints in turn determine some aspects of music. Chapter 5 discusses closure one way humans have attempted to overcome short-term memory imitation between memories. Chapter 6 summarized recent thinking about types and structure of long term memory, while chapter 7 deals with category structure particularly important for understanding way of limitation long term memory places on basic musical material such as tuning systems and systems of durational proportions.

6. Philosophy, Music and emotion by Geoffrey Madell Edinburgh University Press 2002 Edinburgh

This book shows the argument of author that the nature of music power to express emotion has been seriously misunderstood, and that this misunderstanding stems from an approach to the nature of emotion shared by Han slick and by contemporary cognitive analyses of emotion the develop an account of emotion radically different from the standard view, an account which rest on a detained examination of the concepts of desire and pleasure, an examination of which yields a vertically newer
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account of both these concept. This analysis provides the basic for a new account of what it means to say that music can express emotion.

7. Philosophical perceptive on music, Wayne D Bowman Oxford University Press New York 1998

This book offers to help demystify this puzzling world of music philosophy, to provide the serious student of music a basic understanding of what the fess is about, where the important issue lie, and where to employing a very strained metaphor, some of the mines are buried. It seeks to provide an orientation to the field, a fuller understanding of its scope and potential relevance to the concerns of contemporary musicians. The basic strategy is a simple one. We will explore from a number of different perspectives two fundamental, yet remarkably challenging, questions about music, questions that have fascinated and perplexed philosophers since earliest recorded history.

8. Conceptualizing Music Cognitive Structure, theory and analysis by Lawrence M Tobikowski Oxfort University Press 2002 New York

This book draws on some body of research from the brain sciences and mind sciences that shaped studies in music cognition; it explores how basic cognitive capacities are specified for understanding music. The project takes inspiration from recent work in linguistics and theatric by researchers like Ronald Langacker Gilles Fauconnier, Mark Turner, and George Lakofi and it is based on the assumption that musical

understanding relies not on specialize capacities unique to the processing of patterned sound but on the specialized use of general capacities that human use to structure their understanding of the everyday world.

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9. The Aesthetics of Music, Roger Scruton, Oxford University Press New York 1997

In this book the author begin from first principle, and allowed the subject, rather than those who have discussed it, to dictate the direction of the argument. It came as a surprise that so dry a question as what is a sound? Should lead at last to a philosophy of modern culture. He thought naive about the Pythagorean cosmology, and the true meaning of harmony be should perhaps have known before hand that the ordering of sound as music is an ordering of the soul. The text began life as a course of lecture, delivered in Boston University in the fall semester of 1992, and again in 1993 and 1994. The author wish to record his gratitude to the student who attended those lecture and whos lively

10. The Musical Mind: The Cognitive Psychology of Music by John A Sloboda Oxford Science Publications New York 1985

There are several reason why this book might have arisen, One is that many psychologist studying music have not had the good fortune to receive extended musical training, and so have had united rage of musical insights and intuitions to guide their work. The difficulties that might be experienced by someone attempting to carry out psycholinguistic research on a language that he did not know at all well, and without a through grounding in linguistics. Another reason is that theoretical developments in the psychology of music have been slow. Experimentalists have tended to construct micro theories to account for their source cannot easily be synthesized. A third reason is that psychological reason has been dominated by the view that one must understand the most peripheral and simple aspects of intellectual functioning as a prelude to the study of more centre and complex aspects
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A fourth and related reason is that psychologists have, rightly wished to conduct their research with rigorous control and measurement. Firth and finally, writers on the psychology of music have tended to address themselves exclusively either to the professional psychologist on to the music educator and education as researcher.

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