The social and applied psychology of music

1. The social and applied psychology of music

2. Composition and musicianship

2.1. Creativity

2.1.1. The concept of creativity

2.1.2. The creative process

2.1.3. Theories of creativity

2.2. Composition, eminence, and fashion

2.2.1. Biographical influences on composition and eminence

2.2.2. The clockwork muse

2.2.3. Melodic originality and eminence

2.2.4. Collaboration

2.3. Musicianship

2.3.1. Personality and identity

2.3.2. Environment, motivation, and musical skill

2.3.3. Performance

2.3.4. The 'Mozart effect'

3. Musical preference and taste

3.1. The music

3.1.1. Experimental aesthetics

3.1.2. Subjective complexity and repetition

3.1.3. Preference for prototypes

3.2. The listening situation

3.2.1. Konečni's arousal-based approach

3.2.2. Appropriateness, typicality, and arousal-based goals

3.2.3. Compliance and prestige

3.3. The listener

3.3.1. Social class, taste publics, and massification

3.3.2. Age

3.3.3. Sex

3.3.4. Personality

3.3.5. Musical training and ability

3.4. The reciprocal response model

3.5. Emotional responses to music

3.5.1. The circumplex model

3.5.2. Intrinsic and extrinsic meaning

3.5.3. Strong experiences of music

3.6. Music in everyday life

4. 'Problem music' and subcultures

4.1. Campaigns and protests : the filth and the fury

4.1.1. Media effects and adolescent stereotyping

4.2. Prevalence and content of pop music media

4.2.1. Prevalence of pop music

4.2.2. Content of pop music

4.3. Effects of problem music on thoughts and behaviours

4.3.1. Delinquency and criminality

4.3.2. Illegal drugs

4.3.3. Permissive sexual attitudes

4.3.4. Sexual and racial discrimination

4.3.5. Self-harm and suicide

4.3.6. (Mis)Interpretation of lyrics

4.4. Is there a case for censorship?

4.4.1. Biases in the evaluation of problem music

4.4.2. Summary and implications for censorship

4.5. Musical subcultures

4.5.1. Music as a 'badge'

4.5.2. The uses and gratifications approach

4.5.3. Idolisation of musicians

5. Music, business, and health

5.1. The music industry

5.1.1. Tin Pan Alley and music industry innovation

5.1.2. Superstardom

5.1.3. Music purchasing

5.1.4. Music piracy

5.1.5. Radio programming

5.2. Music and advertising

5.2.1. Classical conditioning

5.2.2. Elaboration likelihood, involvement, and musical fit

5.2.3. Sonic branding, jingles, and sponsorship

5.3. Music in commercial environments

5.3.1. Pleasure and arousal-based effects

5.3.2. Knowledge activation effects

5.3.3. Time perception and waiting

5.3.4. Workplace morale and productivity

5.4. Music and health

5.4.1. Models of music therapy

5.4.2. Music and physical health

6. Musical development and education

6.1. Musical development

6.1.1. The socio-cultural perspective

6.1.2. Biological predispositions and the social context

6.1.3. Does musical and artistic development proceed in stages?

6.1.4. Is musical development domain-specific?

6.1.5. Normative and expert development in music

6.1.6. Theoretical models of musical development

6.2. Music education

6.2.1. Contexts of music education

6.2.2. Aims and objectives

6.2.3. Learning and teaching

6.3. Conclusion

7. Concluding remarks

References

Name index

Subject index.