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001 ocm00188192;

003 OCoLC;

005 20141212120115.0;

008 740518r19671938nyuag b 000 0 eng ;

010 a| 67027877;

020 a| 0486218511;

035 a| (Sirsi) o00188192;

035 a| (OCoLC)188192;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREMa| NPEE;

050 00 a| ML3830.S32b| P8 1967;

082 0 a| 781.1/5;

092 a| 781.11b| Se1p;

100 1 a| Seashore, Carl E.q| (Carl Emil),d| 1866-1949.=| ^A312818;

245 10 a| Psychology of music /c| by Carl E. Seashore.;

260 a| New York :b| Dover Publications,c| [1967];

300 a| xix, 408 pages :b| illustrations, music ;c| 22 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| This Dover edition is an unabridged and unaltered republication of the work originally published in 1938.;

504 a| Includes bibliographical references (pages 387-397).;

505 0 a| The musical mind. The sensory capacities ; Musical imagery, imagination, and memory ; Musical intelligence ; Musical feeling ; Musical performance ; The meaning of this analysis -- The musical medium. Musician, music, listener ; Characteristics of the sound wave ; Frequency: pitch ; Musical aspects of pitch intonation ; Intensity: loudness ; Musical aspects of loudness ; Duration: time ; Musical aspects of time ; Wave form: timbre ; Musical aspects of tonal timbre ; The musical performance score -- The science of music. Scope of the subject ; The performer, the music, the listener ; General principles of science ; Basic principles in the psychology of music -- A musical ornament, the vibrato. Nature of the vibrato ; An example of the vocal vibrato ; An example of instrumental vibrato ; Frequency of occurrence, extent and rate of vibratos ; Normal illusions which make for beauty of vibrato ; The nature of beauty in the vibrato ; Ear training for the vibrato ; Use and abuse of the vibrato ; Ear training for the vibrato ; Use and abuse of the vibrato ; The vibrato, good, bad, indifferent, and ideal -- Pitch: Frequency. The nature of pitch ; Limits of audible pitch ; Pitch discrimination ; Absolute pitch ; The significance of individual differences ; Normal illusions of pitch ; Subjective tones ; The first difference tone ; Other difference tones ; Summation tones ; Subjective harmonics ; The difference tone a substitute for a low fundamental ; Pitch performance -- Loudness: Intensity. The role of intensity ; Sensitivity or hearing ability ; Deterioration with age: presbycousis [i.e. presbycusis] ; Children's hearing ; Discrimination: the sense of intensity ; Number of audible differences in loudness ; Motor capacities ; Intensity characteristics of musical tones ; Amplification of sound -- Duration: Time. Nature of the perception of time ; Discrimination: the sense of time ; Normal illusions of time ; Motility -- Timbre: Wave form. The nature of timbre ; Harmonic analysis ; Synthetic tones ; Timbre discrimination: the sense of timbre -- Tone quality: Sonance. Analogy in moving pictures ; Types of sonance ; Sonance in attack, release, and portamento ; The inside of a vocal tone ; What is in a name? ; Sonance in speech ; Nature of the vowel in music and speech ; The problem of formant regions ; Dependence of harmonic structure upon fundamental pitch and total intensity in the vowel ; Conversational vs. audience voice -- Consonance. The nature of consonance ; The psychological approach ; Six psychological problems ; Order of merit in each of four criteria ; Order of rank on three criteria combined ; The sense of consonance -- Volume. Spatial factors ; Quantitative factors ; Qualitative factors ; Temporal factors ; Subjective factors ; Carrying power -- Rhythm. The nature of rhythm ; What rhythm does ; Individual differences in musical rhythm ; Psychology of rhythm -- Learning in music. Twelve rules for efficient learning in music (to the pupil) ; Some specific applications (to the instructor) --;

505 0 a| Imagining in music. The analogy in sculpture and painting ; Comparison of musicians and scientists ; R. Schumann ; Mozart ; Berlioz ; Wagner ; Supplementary imagery ; Living in a tonal world ; The development of imagery ; Individual differences in mental imagery -- Thinking in music. The issue ; The nature of musical intelligence ; How musicians rate -- Nature of musical feeling. Determined by capacities ; Intensified by pursuit ; Characterized by intelligence and motor skills ; Transfer to other situations -- Timbre of band and orchestral instruments. The bassoon ; The clarinet ; The French horn ; The baritone horn ; The cornet ; The slide trombone ; The flute ; The oboe ; The tuba -- Violin. The violin performances score ; The violin phrasing score ; Comparison of the performance of two players ; The pitch factor ; The intensity factor ; The temporal aspect ; The timbre aspect ; Intervals: the problem of scales -- Piano. Piano touch ; The piano camera ; The piano performance score ; Section of Chopin Nocturne no. 6 ; Similarity in statement and restatement ; Consistency of interpretation ; Asynchronization of chords -- Voice. Singing ; The tonal aspect: pitch ; The dynamic aspect: intensity ; The temporal aspect: time ; Time and stress: rhythm ; The qualitative aspect: timbre and sonance -- Principles of guidance in music. The problem ; Paving the way ; Reminiscent incidents ; Principles of measurement and guidance ; Sources of error in guidance procedures -- Measures of musical talent. What can we measure? ; Principles involved in the elementary battery of measures of musical talent ; Criticisms of this approach ; Purpose of the phonograph records and supplementary procedures ; Reliability ; The basis for rank order ; The uses of these measures -- Analysis of talent in a music school. Origin of the Eastman School experiment ; Plan and purpose of the experiment ; Classification ; Representative profiles ; Stability of the classification ; Retests of adults and children ; Bearing on success in the college music course -- Analysis of talent in the public school. The Lincoln experiment ; The Rochester service ; Procedure in the guidance program ; The training of teachers and supervisors ; The organization of a guidance program for the public school -- The inheritance of musical talent. The nature of the inheritance of musical talent ; Basic approaches now available ; Possible ways of organizing investigation ; The naturalist's point of view -- Primitive music. Musical anthropology through phonophotography ; Negro songs -- The development of musical skills. Control of pitch intonation ; Control of intensity ; Control of time and rhythm ; The rhythm meter ; Training for precision in rhythmic action ; Control of timbre ; General significance of specific training for skills -- Musical esthetics. Approaches to musical esthetics ; Esthetics as a normative science ; The musical message.;

650 0 a| Musicx| Psychological aspects.=| ^A106790;

590 a| Little-294615--305131000693V;

596 a| 2 3;

998 a| 580740;

999 a| ML3830.S32 P8 1967w| LCc| 1i| 30372009112498d| 12/12/2025e| 11/5/2025f| 4/25/2024g| 4l| MSTm| JMUSICn| 23r| Ys| Yt| MGESBKu| 9/6/1995x| BOOKz| MCIRCo| .STAFF. enhanced 1/22/24 -jjab;

Psychology of music / by Carl E. Seashore.

Author/creator	Seashore, Carl E.
Format	Book
Publication Info	New York : Dover Publications, [1967]
Description	xix, 408 pages : illustrations, music ; 22 cm
Subjects	Music--Psychological aspects.

Contents	The musical mind. The sensory capacities ; Musical imagery, imagination, and memory ; Musical intelligence ; Musical feeling ; Musical performance ; The meaning of this analysis -- The musical medium. Musician, music, listener ; Characteristics of the sound wave ; Frequency: pitch ; Musical aspects of pitch intonation ; Intensity: loudness ; Musical aspects of loudness ; Duration: time ; Musical aspects of time ; Wave form: timbre ; Musical aspects of tonal timbre ; The musical performance score -- The science of music. Scope of the subject ; The performer, the music, the listener ; General principles of science ; Basic principles in the psychology of music -- A musical ornament, the vibrato. Nature of the vibrato ; An example of the vocal vibrato ; An example of instrumental vibrato ; Frequency of occurrence, extent and rate of vibratos ; Normal illusions which make for beauty of vibrato ; The nature of beauty in the vibrato ; Ear training for the vibrato ; Use and abuse of the vibrato ; Ear training for the vibrato ; Use and abuse of the vibrato ; The vibrato, good, bad, indifferent, and ideal -- Pitch: Frequency. The nature of pitch ; Limits of audible pitch ; Pitch discrimination ; Absolute pitch ; The significance of individual differences ; Normal illusions of pitch ; Subjective tones ; The first difference tone ; Other difference tones ; Summation tones ; Subjective harmonics ; The difference tone a substitute for a low fundamental ; Pitch performance -- Loudness: Intensity. The role of intensity ; Sensitivity or hearing ability ; Deterioration with age: presbycousis [i.e. presbycusis] ; Children's hearing ; Discrimination: the sense of intensity ; Number of audible differences in loudness ; Motor capacities ; Intensity characteristics of musical tones ; Amplification of sound -- Duration: Time. Nature of the perception of time ; Discrimination: the sense of time ; Normal illusions of time ; Motility -- Timbre: Wave form. The nature of timbre ; Harmonic analysis ; Synthetic tones ; Timbre discrimination: the sense of timbre -- Tone quality: Sonance. Analogy in moving pictures ; Types of sonance ; Sonance in attack, release, and portamento ; The inside of a vocal tone ; What is in a name? ; Sonance in speech ; Nature of the vowel in music and speech ; The problem of formant regions ; Dependence of harmonic structure upon fundamental pitch and total intensity in the vowel ; Conversational vs. audience voice -- Consonance. The nature of consonance ; The psychological approach ; Six psychological problems ; Order of merit in each of four criteria ; Order of rank on three criteria combined ; The sense of consonance -- Volume. Spatial factors ; Quantitative factors ; Qualitative factors ; Temporal factors ; Subjective factors ; Carrying power -- Rhythm. The nature of rhythm ; What rhythm does ; Individual differences in musical rhythm ; Psychology of rhythm -- Learning in music. Twelve rules for efficient learning in music (to the pupil) ; Some specific applications (to the instructor) --
Contents	Imagining in music. The analogy in sculpture and painting ; Comparison of musicians and scientists ; R. Schumann ; Mozart ; Berlioz ; Wagner ; Supplementary imagery ; Living in a tonal world ; The development of imagery ; Individual differences in mental imagery -- Thinking in music. The issue ; The nature of musical intelligence ; How musicians rate -- Nature of musical feeling. Determined by capacities ; Intensified by pursuit ; Characterized by intelligence and motor skills ; Transfer to other situations -- Timbre of band and orchestral instruments. The bassoon ; The clarinet ; The French horn ; The baritone horn ; The cornet ; The slide trombone ; The flute ; The oboe ; The tuba -- Violin. The violin performances score ; The violin phrasing score ; Comparison of the performance of two players ; The pitch factor ; The intensity factor ; The temporal aspect ; The timbre aspect ; Intervals: the problem of scales -- Piano. Piano touch ; The piano camera ; The piano performance score ; Section of Chopin Nocturne no. 6 ; Similarity in statement and restatement ; Consistency of interpretation ; Asynchronization of chords -- Voice. Singing ; The tonal aspect: pitch ; The dynamic aspect: intensity ; The temporal aspect: time ; Time and stress: rhythm ; The qualitative aspect: timbre and sonance -- Principles of guidance in music. The problem ; Paving the way ; Reminiscent incidents ; Principles of measurement and guidance ; Sources of error in guidance procedures -- Measures of musical talent. What can we measure? ; Principles involved in the elementary battery of measures of musical talent ; Criticisms of this approach ; Purpose of the phonograph records and supplementary procedures ; Reliability ; The basis for rank order ; The uses of these measures -- Analysis of talent in a music school. Origin of the Eastman School experiment ; Plan and purpose of the experiment ; Classification ; Representative profiles ; Stability of the classification ; Retests of adults and children ; Bearing on success in the college music course -- Analysis of talent in the public school. The Lincoln experiment ; The Rochester service ; Procedure in the guidance program ; The training of teachers and supervisors ; The organization of a guidance program for the public school -- The inheritance of musical talent. The nature of the inheritance of musical talent ; Basic approaches now available ; Possible ways of organizing investigation ; The naturalist's point of view -- Primitive music. Musical anthropology through phonophotography ; Negro songs -- The development of musical skills. Control of pitch intonation ; Control of intensity ; Control of time and rhythm ; The rhythm meter ; Training for precision in rhythmic action ; Control of timbre ; General significance of specific training for skills -- Musical esthetics. Approaches to musical esthetics ; Esthetics as a normative science ; The musical message.
Local note	Little-294615--305131000693V
General note	This Dover edition is an unabridged and unaltered republication of the work originally published in 1938.
Bibliography note	Includes bibliographical references (pages 387-397).
LCCN	67027877
ISBN	0486218511

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Music	Music Stacks	ML3830.S32 P8 1967	✔ Available	Place Hold

Psychology of music / by Carl E. Seashore.

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