Indiana University Jacobs School of Music, Music Education Psychology of Music E Spring 2014 M, W: 10:10 to 11:30, M149C

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1 1 Indiana University Jacobs School of, Education Psychology of E Spring 2014 M, W: 10:10 to 11:30, M149C Instructor Information: Dr. Peter Miksza Office Hours: Mon. and Wed. 8:30 to 9:30 or by appointment Simon 145H; Course Description: This course is a survey of physical/physiological, perceptual, cognitive, constructivist, and humanistic approaches to examining musical experience and learning. The course will be organized by two central components. Part I will begin with a basic introduction to the field of music psychology followed by an exploration of extensions of concepts of foundational learning theories (e.g., constructivism, situated learning, humanism) and a brief discussion of issues related to peak musical experiences and performance anxiety. Part II of the course will deal with the neurological bases for musical experience, acoustical principles and physiological processes for experiencing sound, the perception of music, response to music, and psychological perspectives of musical ability. Students will have the option of completing a research literature review or an original empirical study as a final project. Materials and Resources: Active XYZ@indiana.edu account maintained by the student for communication Required Text/Readings: Hodges, D. A., & Sebald, D. C. (2011). in the human experience: An introduction to music psychology. New York, NY: Routledge. Additional pdf readings and websites - see course schedule will be posted on ONCOURSE Goals: 1. To consider constructivist extensions of foundational learning theories. 2. To examine implications of humanistic perspectives for peak musical experiences and optimal musical performance. 3. To discuss theories of music performance anxiety and concomitant treatment approaches. 4. To provide a foundational understanding of neurological function and how music is processed by the brain. 5. To provide a basic introduction to psychoacoustics and the physiology of hearing. 6. To consider primary trends and findings related to research regarding the perception of aural events. 7. To discuss theories of musical emotion, affective response to music, and bodily response to music. 8. To consider the nature of musical ability as a distinct construct as well as in relation to other human abilities. Objectives: Upon completing this course students will be able to 1. Describe the typical parameters ascribed to the psychology of music as a discipline of study.

2 2 2. Discuss constructivist notions of learning as related to social interaction, situated learning, and cognitive apprenticeship. 3. Describe humanistic approaches for examining music learning. 4. Discuss the nature of peak experiences in music and flow as they relate to musical listening and performance. 5. Identify major theoretical conceptions of music performance anxiety. 6. Identify trends regarding effective therapeutic approaches for treating music performance anxiety. 7. Describe how musical experience has been studied from a neurological perspective. 8. Define and explain the basic elements of psychoacoustics and human hearing. 9. Describe and synthesize trends and research findings regarding music perception. 10. Identify prominent theoretical models and discuss prominent research findings regarding emotional, affective, and bodily responses to music. 11. Critique contrasting perspectives on the psychological nature of musical ability. 12. Discuss the nature of musical abilities and how they may or may not be related to other human abilities. Assessment: The point break down of the course grade is as follows: 50 Forum Posts 10 points each) 80 In-Class Exam 60 Take Home Exam I 90 Take Home Exam II 150 Final Project 430 TOTAL Grading (in percentage): A B C D F Below 60 A B C D A B C D Assignments: 1) Forum Posts: Students will complete five forum posts scheduled throughout the semester as reading prompts. The prompts will pertain to the following topics: constructivist approaches to teaching, peak musical experiences of friends/family, acoustics/hearing/perception topics, musical expression, and the nature of musical ability. The posts will be graded on a pass/fail basis. 2) Take-Home Exam I: In this exam, students will be provided with an opportunity to apply, analyze, synthesize, and evaluate the materials pertaining to constructivist notions of music learning and peak experiences in music. 3) In-Class Exam: This exam will cover basic knowledge, comprehension, and application of key topics related to brain physiology/function, acoustics, and music perception. 4) Take-Home Exam II: In this exam, students will be provided with an opportunity to apply, analyze, synthesize, and evaluate the materials pertaining to music cognition, musical expression, and bodily/affective response to music.

3 3 5) Final Project: Students may choose from one of the following options for their final project: (a) a comprehensive research literature review delving into one of the topics of the course, (b) an original empirical study conducted individually or, (c) an original empirical study conducted in a pair. Further delineation between the required work and documentation for these options is provided in the detailed assignment description on Oncourse. See assignment details for due dates according to project section. IU POLICY Accommodations for Religious Holidays: Please note the dates recognized by IU at ( Forms ). A student accommodation request form is available at this site. Please fill one out and bring it to class should the need arise. Academic Misconduct: The definition of academic misconduct and the procedures to be followed at IU in the case that a problem should occur can be found at See both the Code document itself and the IU Bloomington Procedures. Disabilities Students requesting accommodations for various types of disabilities are referred to the Office of Disability Services for Students (Franklin Hall 006, ). Adjustments in course requirements cannot be made until a written evaluation from this office is received. Please see:

4 4 Psychology of Course Schedule Miksza Date Topic Readings Assignments 1/13, 1/15 Hodges & Sebald, What is music psychology? (chapter 1) Hodges & Sebald, Philosophical issues in music psychology (chapter 2) 1/22, 1/27, 1/29 Introduction to Psychology Constructivist Extensions of Learning Theory Hodges & Sebald, around the world and across time (chapter 4) PART I Webster, Construction of music learning ( MENC Handbook of Research on Learning, V.1, chapter 2) Wiggins, Teaching for understanding ( Teaching for al Understanding, chapter 1) Brown, Collins, & Duguid, Situated cognition and the culture of learning (article) Phillips, The good, the bad, and the ugly (article) Countryman, High school music programmes as potential sites for communities of practice (article) SUPPLEMENT: Driscoll Vygotsky s developmental method ( Psychology of Learning for Instruction, EXCERPT, page ) (pdf) Final Project Phase 1 Due 1/15 Forum Post 1 Due 1/27 2/3 Sinor Guest TBA Final Project Phase 2 Due 2/3 2/5, 2/10 Forum Post 2 Due 2/10 2/12, 2/17 2/19, 2/24, 2/26 3/3, 3/5, 3/10 Humanist Psychology and Peak al Experience Performance Anxiety Brain Physiology and al Processing Acoustical, Physiological, and Perceptual Foundations of 3/12 In-Class Test Hodges & Sebald, The psychology of music learning (EXCERPT chapter 14 pp 261 to 264) Maslow, education and peak experience (article) Whaley, Sloboda, & Gabrielsson, Peak experiences in music ( The Oxford Handbook of Psychology, chapter 42) Manzano et al., The psychophysiology of flow during piano playing (article) Diaz, Mindfulness, attention, and flow during music listening (article) Kenny, Theoretical contributions to understanding music performance anxiety ( The Psychology of Performance Anxiety, chapter 6) Kenny, Prevention and pedagogy ( The Psychology of Performance Anxiety, chapter 10) Ryan, Gender differences in children anxiety, (article) Kokotsaki & Davidson, Investigating musical performance anxiety among music college singing students: A quantitative analysis (article) SUPPLEMENT: Hodges & Sebald, and health (EXCERPT chapter 15 pp 293 to 303) PART II Hodges & Sebald, and the brain (chapter 9) Peretz & Zatorre, Brain organization for music processing (article) Elbert, Pantev, Wienbruch, Rockstroh, & Taub, Increased cortical representation of the fingers of the left hand in string players (article) Schlaug, Jancke, Huang, & Steinmetz, Increased corpus callosum size in musicians (article) Kristeva, Chakarova, Schulte-Monting, & Spreer, Activation of cortical areas in music execution and imaging: A high resolution EEG study (article) Hodges & Sebald, Acoustical foundations of music (chapter 5) Handel, The production of sound ( Listening, EXCERPT chapter 2, pp 7 to 30) Hodges & Sebald, al hearing (chapter 6) Hodges & Sebald, Psychoacoustics and the Perception of (chapter 7) SUPPLEMENT: Handel, The environment of sound ( Listening, chapter 3) Take Home Test I Due 2/19 Forum Post 3 Due 3/5

5 5 3/24, 3/26, 3/31, 4/2 4/7, 4/9, 4/14, 4/16 4/21, 4/23, 4/28, 4/30 Basics of Cognition and Expression Bodily and Affective Response to, al Emotions Exploring the Nature of al Ability Hodges & Sebald, Cognition (chapter 8) Lehmann, Sloboda, & Woody, Expression and Interpretation (chapter 5) Juslin, Five facets of musical expression: A psychologist s perspective on music performance (article) Hodges & Sebald, Bodily responses to music (chapter 10) Lamont & Greasly, al preferences ( The Oxford Handbook of Psychology, chapter 15) Fung, ians and non-musicians preferences for world musics: Relation to musical characteristics and familiarity (article) Hodges & Sebald, al emotions (chapter 11) Hunter, Schellenberg, & Griffith (2011). Misery loves company (article) Knight & Rickard, Relaxing music prevents stress-induced increases in subjective anxiety, systolic blood pressure, and heart rate in healthy males and females (article) Miller & Quigley, Sensation-seeking, performance genres, and substance abuse among musicians (article) SUPPLEMENT: Abeles & Chung, Responses to music ( Handbook of Psychology, chapter) Hodges & Sebald, How we came to be musical (chapter 3) Radocy & Boyle, al ability and learning ( Psych Foundations of al Behavior, EXCERPT chapter 10, pp 384 to 396) Shuter-Dyson, al abilities (chapter 16) Kemp, ianship from a different perspective (chapter 1) Schellenberg, and nonmusical abilities (article) ARTICLES TO BE SELECTED FROM Baharloo et al., Absolute pitch: An approach for identification of genetic and nongenetic components (article) Schellenberg & Trehub, Good pitch memory is widespread (article) Haack & Radocy, A case study of a chromasthetic (article) Rauscher, Shaw, & Ky, and spatial task performance (article) Nantais & Schellenberg, The Mozart effect and artifact of preference (article) Schellenberg, lessons enhance IQ (article) Gromko, The effect of music instruction on phonemic awareness (article) Hamann, Bourassa, & Aderman, Arts experiences and creativity scores of high school students (article) Moreno et al., Short term music training enhances verbal intelligence and executive function (article) MacLellan, Differences in Myers-Briggs personality types (article) 5/7 FINAL PROJECT DUE via Oncourse by 5:00PM Forum Post 4 Due 3/26 Final Project Phase 3 Due 4/2 Take Home Exam II Due 4/16 Forum Post 5 Due 4/28