상세정보

음악 심리학에서 하나의 중요한 신생 분야인, 음악적 발달 연구 분야에서의 경험적 연구와 적용에 대하여 다루는 책이다. 사람들이 디지털 세계에서 음악에 어떻게 참여하고 있는가에 대해 탐색하고, 발달 심리학과 음악 심리학에서의 최근의 발전을 검토한 후 인지적 단계 이론들과 신경과학, 생태학과 사회적 인지 접근을 포함하여 이 분야의 열 가지의 주요 이론들을 비교한다. 그리고 그 각각의 이론이 어떻게 다섯 가지의 중요한 이론적 이슈들을 다루고 있는지 평가한다.

본 저서는 음악 심리학에서 하나의 중요한 신생 분야인, 가장 최근의 포괄적인 이론, 즉 음악적 발달 연구 분야에서의 경험적 연구와 적용에 대하여 다룬다. 사람들이 디지털 세계에서 음악에 어떻게 참여하고 있는가에 대해 탐색하고, 발달 심리학과 음악 심리학에서의 최근의 발전을 검토한 후 하그리브스Hargreaves와 라몽Lamont은 인지적 단계 이론들과 신경과학, 생태학과 사회적 인지 접근을 포함하여 이 분야의 열 가지의 주요 이론들을 비교한다. 그리고 그 각각의 이론이 어떻게 다섯 가지의 중요한 이론적 이슈들을 다루고 있는지 평가한다. 각 장은 다음과 같은 내용을 다룬다: 인지, 지각 그리고 학습; 사회적 발달; 능력, 성취도, 동기에 대한 환경의 영향; 정체성, 개성, 라이프 스타일; 정서와 감정, 웰빙과 건강. 본 저서는 전체적으로 실제적인 적용을 강조하고 있으며, 음악 심리학, 발달 심리학, 음악 교육, 음악 치료 분야의 학자들과 학생들에게 필수적인 저서가 될 것이다.

정보제공 :

역자 서문 / 5
서문 / 7

제1장 서론 ····················································································21
음악 및 음악적 참여에서의 발달 ··················································22
테크놀로지의 발달과 그 영향 ·····················································23
개인적 음악 듣기와 통제 ·························································25
발달 심리학과 음악 심리학의 발전 ················································27
발달 심리학과 교육학의 최근 연구 경향 ········································28
음악 심리학의 발전과 다변화 ·····················································31
이 책의 목표와 계획 ·································································34

제2장 음악적 발달: 이론적 모형, 접근, 이슈들 ·································37
음악적 발달의 이론적 모형 ·························································38
발달 단계(stage)/시기(phase) 모형 ················································38
음악 학습과 인지 ··································································48
상징 체계: 가드너와 Havard Project Zero ·································52
음악 이론: 오켈포드의 ‘의도의 소리’ 모형 ······································56
음악적 발달에 대한 사회적 접근들과 새로 등장하는 모형들 ···················60
음악에 관한 신경과학적 연구 ·····················································78
이론적 이슈들 ·········································································85
생물학적, 사회적 요인들 ··························································86
음악적 산출, 지각, 연주, 표상 ····················································87
발달의 진행 ········································································89
영역 특정성 ········································································90
일반인의 발달과 전문가의 발달 ··················································91
결론 ····················································································93

제3장 인지, 지각 및 학습 ······························································95
음악 지각의 기원 ·····································································95
지각과 인지 기술의 발달 ····························································97
초기 지각과 인지에 대한 측정 및 평가 ··········································97
음높이, 조성, 선율 및 화성 ·······················································102
절대음감과 상대음감 ·····························································103
협화음과 불협화음 ································································106
음높이 관계: 음계, 키 멤버십(조의 구성음), 화성 ······························108
음높이 표상에 대한 음악 훈련의 효과 ··········································113
절대음감은 인지능력인가? ·······················································115
성인기의 음높이와 음높이 관계 ·················································118
음높이 관계: 요약 ································································120
빠르기, 타이밍, 리듬 및 박자 ·····················································121
음색 ···················································································127
음악적 요소들의 결합 ······························································131
요소의 조합: 음악적 구조와 형식 ···············································131
음악 양식 ·········································································144
창의성과 음악 만들기 ····························································146
음악적 창의성의 기원 ····························································147
음악 만들기의 발달: 작곡 ·······················································148
음악 만들기의 발달: 즉흥연주 ···················································153
결론 ···················································································156

제4장 사회적 발달 ········································································159
사회학적 접근 방식 ·································································159
음악에서의 사회적 발달 이론: 사회적 및 사회문화적 접근 ··················164
피아제, 비고츠키, 그리고 사회적 상호 작용 ···································164
문화 역사 활동 이론 ·····························································167
전 생애에 걸친 발달에 관한 연구 ················································171
영유아기 ··········································································172
아동기 중후반 ····································································177
청소년기 ··········································································190
성인기와 그 후의 삶 ·····························································200
결론 ···················································································203

제5장 능력, 성취, 동기에 미치는 환경적 영향 ·································205
음악적 능력과 발달 ·································································206
음악적 능력은 무엇이며 이를 측정할 수 있는가? ······························206
모든 사람은 음악적인가? ························································207
‘선천적 재능’ 또는 연습? ························································210
연습 ···············································································217
동기 ···············································································221
두 개의 대규모 연구 ·······························································227
Keele-Exter 대학 협력 연구: 음악적 수월성을 결정하는 개인 배경 요인 ····227
시드니 종단 연구 ·································································230
요약: 특정한 환경적 영향의 효과에 대한 설명 ································240
음악교육과 음악적 발달 ····························································242
2000년대 이후 영국의 음악교육 ················································243
맥락 ···············································································246
목적과 목표 ·······································································249
교수와 공식적ㆍ비공식 학습 ·····················································252
결론 ···················································································257

제6장 정체성, 성격, 라이프 스타일 ················································259
자기와 정체성에 대한 정의와 설명 ···············································260
음악적 정체성 ·······································································264
‘음악’과 ‘음악가’는 무엇인가? ···················································265
음악적 정체성의 사회적 의미와 실행적 의미 ··································267
음악적 정체성의 윤리적 측면 ···················································269
음악적 정체성의 발달 ······························································270
음악적 정체성의 개인적 차이 ·····················································277
음악적 정체성과 성격 ····························································278
음악적 정체성과 라이프 스타일 ·················································281
교육에서의 음악적 정체성 ·························································285
‘중등학교의 문제’인가? ···························································285
학생과 교사들의 음악적 정체성 ·················································287
행위주체성과 테크놀로지 ························································290
결론 ···················································································293

제7장 정서와 감정 ········································································295
정서와 감정에 대한 도입 ··························································295
존재론적 관점에서의 정서 이론: 저슬린의 BRECVEMA 프레임워크 ··········296
뇌간 반응 ·········································································297
리듬 동조 ·········································································298
정서 전파 ·········································································300
시각적 심상 ·······································································302
음악적 기대 ·······································································303
평가 조건화 ·······································································305
일화 기억 ·········································································311
심미적 반응 ·······································································315
연령에 따른 음악적 선호도 발달 설명하기 ·····································318
연령에 따른 선호도 변화의 도형화하기 ········································321
음악에 대한 흥미 발달시키기 ···················································322
음악 양식 선호도 발달시키기 ···················································324
연령에 따른 선호도 모형의 변화 ················································329
음악을 좋아하는 것은 전 생애에 걸쳐 어떤 목적에 기여하는가? ·············332
사회적 유대, 우정, 관계 ·························································333
결론 ···················································································341

제8장 웰빙과 건강 ········································································343
건강과 웰빙의 이론들 ······························································343
건강 ···············································································344
웰빙 ···············································································346
노령화와 전 생애적 발달 ························································351
음악 듣기를 통한, 건강과 웰빙에 대한 접근들 ·································353
음악 듣기가 신체 건강 및 웰빙에 미치는 영향 ································353
마음과 인지에 미치는 음악 듣기의 효과 ·······································357
심리적 건강과 웰빙에 미치는 음악 듣기의 효과 ·······························361
사회적 건강 및 웰빙에 대한 음악 듣기의 효과 ································364
음악 만들기를 통한, 웰빙에 대한 접근 ·········································365
신체적 건강과 웰빙에 대한 음악 만들기의 효과 ·······························367
마음과 인지에 대한 음악 만들기의 효과 ·······································370
음악 만들기가 심리적 건강과 웰빙에 미치는 영향 ····························376
음악 만들기가 사회 보건과 웰빙에 미치는 영향 ·······························380
능동적 음악 참여와 수동적 음악 참여 간의 비교 ·····························385
결론 ···················································································387

제9장 이 책을 마치며 ···································································389

참고문헌 ··············································································396
찾아보기 ··············································································461