음악적 발달 심리학 > 심리학

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.

목차

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

저자소개

데이비드 하그리브스David Hargreaves는 University of Roehampton, London의 교육학과 교수로서, 저명한 심리학자이며, British Psychological Society의 회원이다.

알렉산드라 라몽Alexandra Lamont은 Keele University의 부교수이며, Psychology of Music 학회지의 편집자로 있다.

석문주

서울대학교 작곡과 졸업

University of Illinois at Urbana-Champaign

음악교육학 박사

현) 경인교육대학교 교수

권덕원

서울대학교 국악과 졸업

University of Illinois at Urbana-Champaign

음악교육학 박사

경인교육대학교 교수 역임

강주현

성신여자대학교 기악과 졸업

Boston University 음악교육학 박사

현) 건국대학교 강사

정주연

서울대학교 성악과 졸업

Teachers College, Columbia University

음악교육학 박사

현) 이화여자대학교 교육대학원 조교수

임혜숙

이화여자대학교 피아노과 졸업

서울대학교 음악교육학 박사

현) 수원대학교 객원교수

배송

교환