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This Is Your Brain on Music: The Science of a Human Obsession is a popular science book written by the McGill University neuroscientist Daniel J. Levitin, and first published by Dutton Penguin in the U.S. and Canada in 2006, and updated and released in paperback by Plume/Penguin in 2007.
His six books have all been international bestsellers, and collectively have sold more 3 million copies worldwide: This Is Your Brain on Music: The Science of a Human Obsession (2006), [7] [8] [9] The World in Six Songs: How the Musical Brain Created Human Nature (2008), The Organized Mind: Thinking Straight in the Age of Information Overload ...
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The World in Six Songs: How the Musical Brain Created Human Nature is a popular science book written by the McGill University neuroscientist Daniel J. Levitin, and first published by Dutton Penguin in the U.S. and Canada in 2008, and updated and released in paperback by Plume in 2009, and translated into six languages.
Her book, Cognitive Foundations of Musical Pitch (Krumhansl, 1990) has been reviewed by David Huron [2] and is a standard resource for teachers and students of music psychology and one of the discipline's most cited sources. [citation needed] Her father was James A. Krumhansl, a Cornell physicist. [3]
The psychology of music, or music psychology, may be regarded as a branch of psychology, cognitive science, neuroscience, and/or musicology.It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life.
Neuromusicology studies the "brain areas involved in music processing, neural and cognitive processes of musical processing", and "ontogeny of musical capacity and musical skill". Comparative musicology studies the "functions and uses of music, advantages and costs of music making", and "universal features of musical systems and musical behavior".
The Levitin effect is a phenomenon whereby people, even those without musical training, tend to remember songs in the correct key.The finding stands in contrast to the large body of laboratory literature suggesting that such details of perceptual experience are lost during the process of memory encoding, so that people would remember melodies with relative pitch, rather than absolute pitch.