& Ψ study guide Music Psychology.......... A guide for preparing to take the qualifying examination in music psychology.
Music Psychology Study Guide In preparation for the qualifying examination in music psychology Examination Description After approximately 18 hours of course work, students must take and pass three-hour examinations in each of three areas: music history, music theory, and music psychology. These examinations are administered in November and April. This study guide provides guidance on the coverage of the qualifying examination in music psychology. The examination itself consists of open-ended essay questions. The questions are designed to allow the student to demonstrate understanding of music psychology content in ways that are meaningful to the student. There is not one single answer to the questions it is how you answer the question that is important. Your responses should show that you have knowledge of the concepts involved and how they can be applied. A primary resource for your study efforts should be your course notes from MED 562 Psychology of Music I. This study guide is simply a guide. It does not define and explain the concepts covered in music psychology. It does provide a description of the material upon which you will be tested with some sample questions for your consideration. Content That Could Be Covered Music As A Socio-Cultural Phenomenon Why Music? Merriam's Functions of Music Kaplan's Social Functions of the Arts Gaston's Fundamental Considerations of People in Relation to Music What Makes Some Sounds Music Origins of Music Music in Society and Culture Functional Music Stimulative and Sedative Music Stimulative Music Sedative Music Differential Responses to Stimulative and Sedative Music Music in Ceremonies 2
Commercial Music Background Music Muzak Music in the workplace Music in the marketplace Music in Advertising Music as Entertainment Music for Enhancing Narration Therapeutic Uses of Music Music to Facilitate Nonmusical Learning Music as a Reward Psychoacoustic Principles of Music Production of Musical Sounds Transmission of Musical Sounds Reception of Musical Sounds From Air to Inner Ear From Inner Ear to Brain Pitch Phenomena Frequency-Pitch Relationship Pitch Processing of Single Pure Tones Pitch Processing of Combined Pure Tones Pitch Processing of Complex Tones Combinations Tones Intervals Consonance-dissonance Apparent pitch Apparent size Beating Absolute Pitch Pitch Measurement Loudness Phenomena Intensity-Loudness Relationship Volume and Density Annoyance and Noisiness Measurement of Loudness Stimulus measures Response measures The Power Law Masking Loudness Summation Dangers to Hearing Timbre Phenomena Waveform-Timbre Relationship Influences within Waveform Tone Source Recognition Measurement of Timbre Psychology of Rhythm Functions of Rhythm in Music Rhythmic Structure in Music Cognitive Bases of Rhythmic Behavior Movement and Perception Tempo Perception 3
Meter Perception Rhythm Groups Expressive Timing Development of Rhythmic Behaviors Developmental Research Experimental Research Teaching Practices for Rhythmic Development Evaluation of Rhythmic Behaviors Psychological Basis of Melody and Harmony Melody Structural characteristics of melody Perceptual organization of melody Harmony Structural characteristics of harmony Perceptual organization of harmony Tonality Scales and Modes Functions of Scales Scale Tuning Systems Major and Minor Modes Hierarchical Perceptual Structures Empirical Studies of Perception and Memory Expectations and Information Theory Pitch-Related Behaviors Receptive behaviors Production behaviors Development of Melodic and Harmonic Behaviors Evaluating Melodies and Harmonies What is "Good" Melody? What is "Acceptable" Harmony? Psychology of Performance, Improvisation, and Composition Performance as Psychomotor Behavior Performance Expertise Performance Anxiety Improvisation Composition A Theoretical Perspective Compositional Approaches of Selected Composers Composition Theory Musical Affect Affect Emotion Aesthetic Other Definitions Types of Affective Response Approaches to Studying Affective Responses to Music Physiological Measures Adjective Descriptors Philosophical Inquiry Psychological Aesthetics Meaning in Music 4
Variables Contributing to Musical Meaning Musical Preference What is "Good" Music Existing Musical Preferences Surveys and Classical Music Preferences Popular Music Influences on Musical Preferences Altering Musical Preferences Musical Ability Selected Influences on Musical Ability Auditory Acuity Genetics Musical Home Physical Features Creativity Intelligence Gender and Race Summary of Influences on Musical Ability Normal Musical Development and Learning Behavioral-associationist theories Cognitive-organizational theories Musical Development Across Age-Based Stages Musical Abnormalities Measurement and Prediction of Musical Ability and Learning Some Approaches Validity Importance of Nonmusical Variables What Should We Measure? Practical Suggestions Regarding Music Education References Radocy, R. E., & Boyle, J. D. (1997) Psychological foundations of musical behavior (3rd ed.). Springfield, IL: Charles C Thomas. Hodges, D. E. (Ed.) (1996). Handbook of music psychology (2nd ed.). San Antonio: Institute for Music Research, Univ. of Texas at San Antonio. Cuddy, L. L., & Upitis, R. (1992). Aural perception. In R. Colwell (Ed.), Handbook of Research on Music Teaching and Learning. New York: Schirmer Books. Hargreaves, D. J., & Zimmerman, M. P. (1992). Developmental theories of music learning. In R. Colwell (Ed.), Handbook of Research on Music Teaching and Learning. New York: Schirmer Books. Miller, R. F. (1992). Affective response. In R. Colwell (Ed.), Handbook of Research on Music Teaching and Learning. New York: Schirmer Books. 5
Sample Test Items The tempered scale has various characteristics that made possible the concept of equal temperament. This temperament has led us to the development of music, as we know it today. However, violinists often maintain that their intervals are much more accurate than those of the piano. State your position on the scalular system that should be followed by orchestras and support your position based on your knowledge of scales, intervals, and pitch. Empirical aesthetics utilizes quantitative assessments of subject s reactions to music to determine the affective impact music has on the subjects. Identify two approaches for the measurement of affect fully describing each. Then, give your opinion as to the efficacy of each approach. Make certain that your provide support for your opinions. What is the musical significance of rhythm? Indicate the psychological organization that must ensue for the listener to perceive rhythm. Describe the energy transitions that occur from vibrating source to the generation of neural signals in the cochlea of a physically normal listener. Describe the physical/neural foundations of consonance and dissonance. Include in your discussion the concept of in tune and the pedagogical ramifications of these physical/neural foundations. Music theorists have long argued over the most effective system to use in sight-singing classes: fixed do or moveable do. Using your knowledge of perception and learning gleaned from music psychology, identify the system that should be employed when teaching college-age undergraduates. Support your contention. 6