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"This book is a much-needed reference and text for expanding our awareness and use of psychology's formative role in teaching, learning, and performing music. The authors begin by identifying folk wisdom that has guided performance and teaching practices in music. They then proceed to present and clarify the psychological principles that influence the various outcomes of music. The focus on musical skills ranges from musical memory to improvisation, with a unique closing to each chapter--a self-study that requires reflection on the material presented in the chapter and also on the implementation and explanation of our psychological knowledge in teaching, learning, and performing. The use of valid research studies as documentation makes this book a page-turner: the user will be reluctant to put it down."--Richard Colwell, co-editor The New Handbook of Research on Music Teaching and Learning, Professor Emeritus, University of Illinois
"This book impressively bridges the gap between psychological insights into music making and the music practitioner's need for concise explanations. Its twelve readily comprehensible chapters and its innovative self-study exercises, study questions, and cultural contextualizations make it an ideal textbook for all musicians wishing to become informed performers and music teachers."--Reinhard Kopiez, Professor of Music Psychology, Hanover University of Music and Drama, Germany
"This book is written by three outstanding musicians active in the fields of psychology for musicians, teaching, and performing, working together as an interdisciplinary team. It provides a great source for students of psychology who are eager to know more about music and the mind, music making, and listening. It is the kind of book that musicians and performers will be referring to for years to come. Highly recommended."--Maurice Hinson, Senior Professor of Piano, School of Church Music and Worship, The Southern Baptist Theological Seminary, Louisville, Kentucky
"This book impressively bridges the gap between psychological insights into music making and the music practitioner's need for concise explanations. Its twelve readily comprehensible chapters and its innovative self-study exercises, study questions, and cultural contextualizations make it an ideal textbook for all musicians wishing to become informed performers and music teachers."--Reinhard Kopiez, Professor of Music Psychology, Hanover University of Music and Drama, Germany
"This book is written by three outstanding musicians active in the fields of psychology for musicians, teaching, and performing, working together as an interdisciplinary team. It provides a great source for students of psychology who are eager to know more about music and the mind, music making, and listening. It is the kind of book that musicians and performers will be referring to for years to come. Highly recommended."--Maurice Hinson, Senior Professor of Piano, School of Church Music and Worship, The Southern Baptist Theological Seminary, Louisville, Kentucky
Book Description
What is it that accounts for the differences between musical beginners, advanced music makers, and world class performers? Virtually everyone likes music and has the capacity to be musical in some way (despite what some may say about themselves). Yet far fewer people come to be so involved with it that they identify themselves as musicians, and fewer still become musicians of international class. Psychology for Musicians provides the basis for answering this question. Examining the processes that underlie the acquisition of musical skills, Lehmann, Sloboda, and Woody provide a concise, accessible, and up-to-date introduction to psychological research for musicians.
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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3.5 out of 5 stars (2 customer reviews)
13 of 15 people found the following review helpful
4.0 out of 5 stars
Very Helpful for Teachers and Students, Oct 19 2008
By Peter L. Forte "PLFORTE" - Published on Amazon.com
Ce commentaire est de: Psychology for Musicians: Understanding and Acquiring the Skills (Hardcover)
As a formally trained pianist and clarinetist and an informally trained drummer I have found this book very insightful and informative. This book is very scientific and very real. Numerous studies have been cited and all the information is scientifically backed. This is what makes it so useful for teachers and students. Specific techniques and methods for teaching and learning are combined with a stimulating mix of philosophy and psychology.From a book lover's perspective, this is not exactly an easy or fun read. I enjoy reading almost anything and I certainly enjoyed this book, however, if you're not a teacher, or someone who has a direct need to study teaching methodology, there are other books that are far more adventurous about the psychology of music and how our brains injest and interpret different aural stimuli. Two particularly fascinating books on this subject are "The Tao of Music," by John Ortiz, and "Music, the Brain, and Estacy," by Robert Jourdain.
As a former music major at the University of New Haven, I feel like this book should start appearing as a required text for many relevant college classes. Also, anyone building a library or a collection of books on music should have this book.
2 of 3 people found the following review helpful
3.0 out of 5 stars
Psych for Musicians is one of the few comprehensive studies., April 5 2010
By Musician 35 "Red" - Published on Amazon.com
Achat Amazon vérifié(Quest-ce que cest?)
Ce commentaire est de: Psychology for Musicians: Understanding and Acquiring the Skills (Hardcover)
This book is a very detailed, comprehensive view of the music making process. It primarily refers to professional musicians, and the process by which they learn, memorize, play, compose, and improvise music. There is also some valuable information on performance anxiety that almost all musicians deal with. While it is great to finally see such detailed studies to "prove our worth" as musicians, this book is very wordy. A lot of what is said could have been shortened to a few paragraphs per topic, because, to the professional music, it is mostly common sense.
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