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The psychology of music preference is the study of the psychological factors behind peoples' different music preferences. One study found that after researching through studies from the past 50 years, there are more than 500 functions for music. [ 1 ]
Paul R. Farnsworth (August 15, 1899 – October 27, 1978) was an American music psychologist. He had a forty-year career at Stanford University where he researched the psychology of music preference. In addition to authoring three books, he was the editor of the Annual Review of Psychology from 1955 to 1968.
Sandra Trehub (May 21, 1938 — January 20, 2023) was a Canadian psychologist recognized for her research in the psychology of music.She completed her PhD in psychology at McGill University, and subsequently joined the faculty of the Department of Psychology at University of Toronto Mississauga, where she spent her entire career.
The psychoacoustic model of harmony proposed by Parncutt in 1989 [1] was adapted from the more general pitch algorithm of Ernst Terhardt, published in 1982. [2] The model assumes that the auditory system treats all acoustic input similarly, whether it is a single tone or a musical chord.
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.
1989. Perceptive approach of contemporary musical forms. In "Music and Cognitive Sciences", (co-edited with S. McAdams). London, Gordon & Breach, Contemporary Music Review, 4, 213-230. 1990. Mechanisms of cue extraction in musical groupings. A study of perception on Berio's Sequenza VI for viola solo. Psychology of Music, 18, 1, 18-44.
In 2022, Greenberg published the largest cross-cultural study to date on music in the Journal of Personality and Social-Psychology, with 356,649 participants across 53 countries. The study used both audio-based and genre-based methods to show that the patterns in correlations between personality traits and Western musical preferences are ...
Meyer used this basis to form a theory about music, combining musical expectations in a specific cultural context with emotion and meaning elicited. [1] His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it. [3]