Psychomusicology

Articles from Vol. 19, No. 1, Spring

A Theoretical Model of Musical Memorization
The purpose of this article is to describe a model of how music is memorized for performances. The process of memorization appears to comprise three stages: preview, practice, and over-learning. Previous experience and enculturation also are very important...
Interval and Interval Class Similarity: Results of a Confusion Study
Undergraduate music majors (N = 27) identified simple musical intervals (m2 through M7), presented at 10 different pitch levels and in three different presentation modes (ascending, descending, harmonic). Resulting error matrices were analyzed by direct...
Messages from the Editor
If you glanced at the editorial page (first page) of this issue, you noticed changes from previous Psychomusicology volumes. One of them is relatively minor. For convenience (and perhaps clarification), the former categorical titles of "Consulting Editors"...
Pitch Processing and Phonological Awareness
The purpose of this research was to observe performance in the processing of pitch in relation to phonological awareness performance in kindergarten students. Thirteen students (N = seven girls, six boys), registered into the preschool program of the...
The Impact of Music on Subjective and Physiological Indices of Emotion While Viewing Films
Despite continued acknowledgment of the importance of music in viewing films, empirical studies investigating the interaction of music with film are conspicuously absent. Evidence from a few isolated cognitive studies suggests that the relationship between...
The Natural Ways of Musicality, Language, and Self Regulation in Infants
Infants have been seen as entering this world with a collection of reflexes, to serve them as tools of survival during the early days of life. However, ongoing research is redefining the cognitive and biological abilities of infants, even infants in...
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