Table of Contents

J.R. Pierce, The Nature of Musical Sound.
M.R. Schroeder, Concert Halls: From Magic to Number Theory.
N.M. Weinberger, Music and the Auditory System.
R. Rasch and R. Plomp, The Perception of Musical Tones.
J-C. Risset and D.L. Wessel, Exploration of Timbre by Analysis and Synthesis.
J. Sundberg, The Perception of Singing.
E.M. Burns, Intervals, Scales, and Tuning.
W.D. Ward, Absolute Pitch.
D. Deutsch, Grouping Mechanisms in Music.
D. Deutsch, The Processing of Pitch Combinations.
J.J. Bharucha, Neural Nets, Temporal Composites, and Tonality.
E. Narmour, Hierarchical Expectation and Musical Style.
E.F. Clarke, Rhythm and Timing in Music.
A. Gabrielsson, The Performance of Music.
W.J. Dowling, The Development of Music Perception and Cognition.
R. Shuter-Dyson, Musical Ability.
O.S.M. Marin and D.W. Perry, Neurological Aspects of Music Perception and Performance.
E.C. Carterette and R.A. Kendall, Comparative Music Perception and Cognition.
Index.

Reviews

"Chapter titles show continuing interest in many of the traditional topics--rhythm, melody, scales, musical ability, the nature of sound--and also in newer areas of inquiry, e.g., the neuropsychological study of musical perception. The editor has succeeded admirably in making this edition a valuable and timely resource for musicians and psychologists at the upper-division undergraduate level and above." --CHOICE, reviewed by W. M. Bigham, Emeritus, Morehead State University, March 1999

"I have on the shelf next to my desk several dozen excellent books about music perception and cognition, but none is more dog-eared or more used than The Psychology of Music, first edition. With that 1982 text, Deutsch accomplished for our field what Neisser did for cognitive psychology in 1967. By her choice of topics and authors, Deutsch made a bold claim to define those problems that ought to interest us (and in fact did). The Second Edition includes five excellent new chapters (worth the price of the book on their own) and substantially updated versions of the remaining 13 chapters. The first edition's influence on the field makes a compelling argument for the purchase of this updated and revised version, certain to be a blueprint for new research and a leading resource for many years to come." --Daniel J. Levitin, Stanford University and The University of California at Berkeley in MUSIC PERCEPTION, Vol. 16, #4, 1999

"This Second Edition is a significant update of the First Edition and is sure to maintain its position as one of the most useful collections of literature about the psychology of music." --AUSTRALIAN JOURNAL OF PSYCHIATRY