Indiana University Jacobs School of Music, Music Education Psychology of Music E619 Fall 2016 M, W: 10:10 to 11:30, Simon Library M263

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1 1 Indiana University Jacobs School of Music, Music Education Psychology of Music E619 Fall 2016 M, W: 10:10 to 11:30, Simon Library M263 Instructor Information: Dr. Peter Miksza Office Hours by appointment Simon 145H; Course Description: This course is a survey of selected psychological perspectives on musical experience and learning. The course will begin with a very brief consideration of the evolutionary bases for musicality as well as an exposition of basic acoustical principles and physiological processes for experiencing sound. We will then explore the neurological bases of musical experience along with a quick survey of some recent research dealing with possible relations between musical ability, general cognitive abilities, and language. This will be followed by an introduction to traditional topics of music perception and cognition, namely, cognitive theories of tonality, harmony, temporal aspects of music, and melody. The most substantial unit in the course will deal with musical skill acquisition (e.g., memory, motor skill acquisition, sight-reading, expertise, performance anxiety). Lastly, contemporary theories regarding motivation for music learning will be dealt with. Students will have the option of pursuing their own interests in-depth within the final project. Students can choose to complete a research literature review or an original empirical study as a final project. Required Text/Readings:! Hallam, S., Cross, I., & Thaut, M. (Eds.) (2016). The Oxford handbook of music psychology (2 nd ed.). New York, NY: Oxford University Press.! Schunk, D. H., Meece, J. L., & Pintrich, P. R. (2014). Motivation in education: Theory, research, and application (4 th ed.). New York, NY: Pearson Education, Inc.! APA manual current edition! Additional pdf readings, web materials, and software will be linked on Canvas Goals: 1.! To provide a basic introduction to origins of musical experience and the primary acoustical and physiological elements of sound and hearing. 2.! To provide a foundational understanding of neurological function related to music and explore connections between musical ability and other abilities. 3.! To consider theoretical explanations for the perception and cognition of basic musical elements. 4.! To consider how research in memory, skill acquisition, and motivation might inform music learning. Objectives: Upon completing this course students will be able to 1.! Explain basic elements of psychoacoustics and human hearing. 2.! Explain the basic anatomy of the brain. 3.! Discuss trends in research linking musical experience and cognitive neuroscience. 4.! Discuss how musical ability may or may not be related to other cognitive abilities. 5.! Describe and synthesize theories of music perception and cognition regarding tonality, temporal aspects of music, and melody.

2 2 6.! Describe a theoretical model of memory and discuss the role of memory in musical skill acquisition. 7.! Analyze and apply research pertaining to musical skill acquisition from a variety of perspectives. 8.! Identify major theoretical conceptions of music performance anxiety. 9.! Compare, contrast, and apply several theories of motivation to music learning. Assessment: The point breakdown of the course grade is as follows: 100 In-class Test 10 Perception class activities 30 Study Review and reference list 20 Article presentation and discussion leading 100 Take Home Exam 40 Motivation plan 100 Final Project 400 TOTAL Grading (in percentage): A B C D F Below 60 A B C D A B C D Assignments: All must be word-processed with 12 pt Times New Roman, double-spaced, 1 inch margins. 1)! Perception Activities: Students will complete a brief activity for each class session in the unit titled sound. The first is to measure db levels in spaces they commonly occupy as well as research what an audiogram is and how to get one. The second is to explain the basics of the physics of sound to someone who has not learned about it before. The third is to analyze a pure tone and a complex tone (e.g., musical tone) using the free software PRAAT. 2)! In-Class Test: This exam will cover basic understandings of key topics from the units sound and the brain and music. The test will consist of diagrams, multiple choice, short-answer, and essay item types. 3)! Study Review and reference list: Students will search and find an article addressing their project topic. A written summary of the article should include information pertaining to the following components of a research study: (a) What was the purpose of this study? (b) How was the need for the study framed/articulated/argued? (c) How did the researcher go about studying this issue (what methods were used in general terms)? (d) What were the findings of the study? The review should also contain a critique addressing issues such as: Was an adequate case for this research made? Is it framed clearly? Is it clear what s being studied? Is the methodology clear enough that you could replicate this study? Are there apparent oversights in the method? Do the authors interpret the findings with appropriate limitations? Do you agree with the author s conclusions? Are they justified? (2-page maximum) Students will also submit a reference list of 10 refereed, research sources they intend to use for their final project (adhere to APA format: 4)! Article presentation and discussion leading: Each student will be assigned to an article from the readings and be tasked with leading a portion of a class in discussion. The duties will include (a)

3 3 a summary presentation of the article s purpose, method, and findings, (b) leading a critical discussion of the author(s) work (justification, theory, method, reporting), and (c) presenting an activity or set of questions for engaging in discussion of the implications of the findings. 5)! Take-Home Exam: In this exam, students will be provided with an opportunity to apply, analyze, synthesize, and evaluate the materials pertaining to the musical structures and musical skills topics. 6)! Motivation Plan: Students will describe an instructional environment, modification, intervention, etc. that has the potential to enhance their own teaching situations for each of the primary theories discussed in class: expectancy-value theory, attribution theory, goal orientation theory, and a theory of intrinsic motivation. 7)! Final Project: Students may choose from one of the following options for their final project: (a) a comprehensive research literature review delving into one of the topics of the course or an approved relevant topic, (b) the completion of two proposals for original empirical studies, (c) an original empirical study including data collection and analysis. Further delineation between the required work and documentation for these options is provided in the detailed assignment description on Canvas. IU POLICY Accommodations for Religious Holidays: Please note the dates recognized by IU at ( Forms ). A student accommodation request form is available at this site. Please fill one out and bring it to class should the need arise. Academic Misconduct: The definition of academic misconduct and the procedures to be followed at IU in the case that a problem should occur can be found at See both the Code document itself and the IU Bloomington Procedures. Disabilities Students requesting accommodations for various types of disabilities are referred to the Office of Disability Services for Students (Franklin Hall 006, ). Adjustments in course requirements cannot be made until a written evaluation from this office is received. Please see:

4 4 Psychology of Music Course Schedule Miksza Date Topic Readings Assignments Introduction 8/22 Orientation 8/24 Evolutionary purpose Handbook: Chapter 1 Cross, Chapter 2 Stevens & Byron, Chapter 4 - Clayton Sound 8/29 Acoustics Download Praat: Perception activity: Hodges & Sebald, Acoustical foundations of music (chapter 5) Audiogram and dbs 8/31 The ear and hearing See links on Canvas for descriptions of the ear Perception activity: Phillips et al., Prevalence of noise-induced hearing loss (pdf) Explain acoustics 9/7 Psychoacoustics Hodges & Sebald, Psychoacoustics and the perception of music (chapter 7) Perception activity: Analyze two sounds The brain and music 9/12 Basic structure and function Brotherson, Understanding brain development (pdf) Lewis, Self-organizing individual differences in brain development (pdf) 9/14 The impact of musical Handbook: Chapter 18 Schlaug experience Herdener et al., Jazz drummers recruit language-specific areas (pdf) 9/19 Music and language Handbook: Chapter 19 Patel Slevc & Miyake, Individual differences in 2 nd -language proficiency: Does musical ability matter? (pdf) Project topic Methodology meetings 9/21 Transfer and other cognitive abilities Schellenberg & Weiss, Music and cognitive abilities (chapter 12) Schellenberg, Music lessons enhance IQ (pdf) 9/26 In-Class Test In-Class Test Musical structures 9/28 Tonality and harmony Sloboda, Psychological structures in music (Chapter 6) Handbook: Chapter 6 Bigand & Poulin-Charronat 10/3 Tempo, meter, and rhythm Handbook: Chapter 8 Jones Hannon et al., Familiarity overrides complexity in rhythm perception (pdf) 10/5 CIC 10/10 Melody Handbook: Chapter 9 Schmuckler Bey & McAdams, Schema-based processing in auditory scene analysis (pdf) Musical skills 10/12 Information processing Ormrod, Learning, cognition, and memory (chapter 6) Corlu et al., Impact of cognitive load on singers performance (pdf) 10/17 Embodied cognition McGuinness & Overy, Music, consciousness and the brain (chapter 14) Iyer, Emodied mind, situated cognition, and expressive microtiming in African-American music (pdf) 10/19 Motor learning Beilock et al., When paying attention becomes counterproductive (pdf) Brown & Palmer, Auditory imagery and motor imagery modulate learning in music Study Review and reference list for

5 5 performance (pdf) 10/24 Motor learning Stambaugh, Why repetition isn t the best practice strategy (pdf) Duke et al., Effects of early and late rest breaks during training on overnight memory consolidation of a keyboard melody (pdf) 10/26 Performing from memory Handbook: Chapter 33 Chaffin, Logan, & Begosh Mishra, Effects of structure and serial position on memory 10/31 Music reading Handbook: Chapter 32 Lehmann & Kopiez Waters et al., Studying expertise in music reading (pdf) 11/2 Expert performance Handbook: Chapter 24 McPherson & Hallam Lehmann & Ericsson, Research on expert performance (pdf) 11/7 Expert performance Howe et al., Innate talents: Reality or myth? (pdf) Meinz & Hambrick, Deliberate practice is necessary but not sufficient (pdf) 11/9 Performance anxiety Kenny, Theoretical contributions to understanding music performance anxiety (chapter 6) Ryan, Gender differences in children anxiety (article) Motivation for music 11/14 Expectancy-Value Motivation in Education: Chapter 2 Wigfield et al., Change in children s competence beliefs (pdf) 11/16 Attribution Motivation in Education: Chapter 3 Austin & Vispoel, Success and failure in classroom music (pdf) 11/28 Goals and goal orientation Motivation in Education: Chapter 5 Matthews & Kitsantis, Group cohesion, collective efficacy and motivation climate (pdf) 11/30 Intrinsic motivation Motivation in Education: Chapter 7 Evans et al., The role of psychological needs in ceasing music (pdf) 12/5 Peak experience Handbook: Chapter 42 Whaley, Sloboda, & Gabrielsson Marin & Bhattachrya, Getting into the musical zone (pdf) 12/7 TBA FINALS WEEK: FINAL WRITTEN PROJECT DUE via Canvas Wednesday by 5:00PM project Take Home Test Motivation plan

"The mind is a fire to be kindled, not a vessel to be filled." Plutarch

"The mind is a fire to be kindled, not a vessel to be filled." Plutarch -21 Special Topics: Music Perception Winter, 2004 TTh 11:30 to 12:50 a.m., MAB 125 Dr. Scott D. Lipscomb, Associate Professor Office