Какой должна быть эта музыка

Музыке приписываются многие виды влияния, причем часто они зависят от личных особенностей человека. Когда принимается решение, какая музыка для благополучия эффективнее, персонализация тоже крайне важна; не существует одного жанра или стиля музыки, который идеально подходил бы всем. Это напоминает об использовании музыки в качестве витамина, против чего так мудро предостерегал Джон Слобода. Хорошая реакция и положительные результаты от музыкотерапии или музыкальной медицины у любого человека зависят от того, какую музыку он любит.

Это становится еще яснее, если увидеть результаты отсутствия персонального подхода, когда исследователи с благими намерениями выбирают музыку некоего общего характера: оказывается, что такая «уравниловка» только ухудшает ситуацию.

В одном случае классическую музыку включали в помещении общего пользования дома-интерната для страдающих слабоумием78. Было обнаружено, что расстройства поведения существенно ухудшались во время этих музыкальных пауз, а многие пациенты требовали, чтобы музыку убрали. С какими бы благими намерениями ни проводились подобные исследования, они свидетельствуют, что выбор музыки должен определяться потребностями, симпатиями, антипатиями и желаниями пациента.

При подборе музыки кроме учета предпочтений клиента можно следовать еще нескольким правилам. Где только возможно, нужно советовать пациентам выбирать музыку с медленным темпом, без резких изменений гармонии и пронзительных тембров. Это способно максимально повысить возможность релаксации вегетативной нервной системы. А когда нужно снижать тревогу и напряжение, желательно избегать музыки, приводящей к сильным эмоциональным реакциям, которые могут быть вызваны связанными с ней воспоминаниями.

К общему выводу, что подобранная пациентом музыка лучше всего, есть оговорка. В некоторых случаях незнакомая музыка может оказаться полезнее; эмоциональные ассоциации с музыкой способны отвлекать и ослаблять внимание человека, направленное на те музыкальные аспекты, которые играют крайне важную роль в терапии. Например, врачу или пациенту необходимо сосредоточиться на ритме, помогающем движению, но эмоциональность музыки может отвлечь внимание от этого аспекта.

Наконец, применение музыки с медицинскими и терапевтическими целями должно соответствовать обстановке. Прослушивание мелодий через наушники может стать неразумным во время болезненных процедур, потому что пациент не услышит указаний и замечаний медперсонала. Такая помеха и недостаточный контакт с проводящими процедуру специалистами могут усилить тревогу пациента и, следовательно, воспринимаемую им боль. В подобных случаях, вероятно, лучше слушать музыку без наушников79.

Исследования музыкальной психологии позволяют лучше понять, как мозг и тело реагируют на музыку во время лечения и ухода, и дают возможность врачам и другому медперсоналу оптимизировать ее использо­вание.

Музыка не волшебная таблетка и не безотказный способ избавления от невзгод. Но она способна стать важным и гибким средством, с помощью которого можно общаться, получать поддержку, находить утешение и вдохновение.

Вы приобрели множество музыкальных навыков, интерпретаций и воспоминаний, которые есть только у вас; второй такой музыкальной личности никогда не будет, сколько бы ни существовало человечество.

Музыка всю жизнь будет вашим другом и спутником, вашим отражением и тенью. Действительно, вы на самом деле и есть музыка.

Благодарности

Все началось примерно пять лет назад. Я не знала, что и думать, когда партнер Оскар подарил мне на день рождения личный сайт musicpsychology.co.uk. Но он быстро все объяснил: я очень люблю говорить о музыкальной психологии, а этот сайт — возможность обсудить свою страсть со всем миром. Он был прав (да, я это произнесла! ). Блог вскоре стал моим детищем, а эта книга — торжественное завершение более чем десяти лет исследований потрясающего мира музыкальной психологии. Спасибо тебе за все, Оскар!

Я также очень благодарна всем замечательным людям в издательстве Icon Books, особенно Дункану Хиту, который поддерживал меня с начала до конца написания книги; Эндрю Ферлоу и Генри Лорду — за их энтузиазм и креативность, а Роберту Шермену — за его острый глаз и скрупулезность. Я также благодарю талантливого Ричарда Грина за потрясающий дизайн обложки. Считаю, что мне очень повезло с прекрасной командой, сотрудничавшей со мной над созданием книги.

Многие студенты, коллеги и друзья не жалели времени, обсуждая и эту книгу, и психологическое воздействие ее написания на автора. Я просто не могу перечислить здесь всех этих великодушных людей, но особого упоминания заслужили: Джойдип Бхаттачария, Рианнон Джонс, Памела Хитон, Даниэль Мюллензифен, Джорджина Флориду, Морис Дуглас, Даниэла Ричардсон и команда из Барселоны.

Папа, спасибо тебе за «Укрощение младенца», уроки музыки, инструменты, за то, что ты возил меня в дома музыки; спасибо за динамики, пластинки, полные музыки праздники и за то, что ты прочел каждую главу моей книги с теми же энергией и юмором, как когда-то проверял мое домашнее задание по математике. Ты — мой герой!

И наконец, эта книга посвящается моей семье — удивительной, любящей, полной энтузиазма, всегда готовой меня поддержать и единственной в своем роде.

Примечания

Введение

1. Mayle, P. (1978), Baby Taming. New York: Crown.

2. Changizi, M. (2011), Harnessed: how language and music mimicked nature and transformed ape to man. Dallas: Benbella Books.

Часть I. Музыка в начале жизни

Глава 1. Первые шаги в музыке

1. Ruthsatz, J., Ruthsatz, K., and Stephens, K.R. (2013), ‘Putting practice into perspective: Child prodigies as evidence of innate talent’, Intelligence, http: //dx.doi.org/10.1016/j.intell.2013.08.003.

2. Pujol, R., Laville-Rebillard, M., and Lenoir, M. (1998), ‘Development of sensory neural structures in the Mammalian cochlea’, in: E.W. Rubel, A.N. Popper and R.R. Fay (eds.), Development of the auditory system. New York: Springer Handbook of Auditory Research (pp. 146–193). Springer-Verlag.

3. Abrams, R.M., et al. (1998), ‘Fetal music perception: The role of sound transmission’, Music Perception, 15, 307–317.

4. Smith, S.L., et al. (2003), ‘Intelligibility of sentences recorded from the uterus of a pregnant ewe and from the fetal inner ear’, Audiology and Neuro-Otology, 8, 347–353.

5. Draganova, R., et al. (2007), ‘Serial magnetoencephalographic study of fetal newborn auditory discriminative evoked responses’, Early Human Development, 83 (3), 199–207.

6. Richards, D.S., et al. (1992), ‘Sound levels in the human uterus’, Obstetrics & Gynecology, 80 (2), 186–90.

7. Ando, Y., and Hattori, H. (1977), ‘Effects of noise on sleep of babies’, Journal of the Acoustical Society of America, 62, 199–204.

8. Granier-Deferre, C., et al. (2011), ‘A Melodic Contour Repeatedly Experienced by Human Near-Term Fetuses Elicits a Profound Cardiac Reaction One Month after Birth’, PLOS ONE, 6 (2): e17304.

9. James, W. (1890), The Principles of Psychology. Cambridge, MA: Harvard University Press (1981).

10. Winkler, I., et al. (2009), ‘Newborn infants detect the beat in music’, Proceedings of the National Academy of Sciences USA, 106 (7): 2468–2471; информацию и стимулы можно найти по адресу: http: //www.mcg.uva.nl/newborns/.

11. Bull, D., Eilers, R.E., and Oller, D.K. (1985), ‘Infants’ discrimination of final syllable fundamental frequency in multisyllabic stimuli’, Journal of the Acoustical Society of America, 77 (1), 289–295.

12. Nazzi, T., Floccia, C., and Bertoncini, J. (1998), ‘Discrimination of pitch contours by neonates’, Infant Behavior and Development, 21 (4), 779–784.

13. Mampe, B., Friederici, A., Christophe, A., and Wermke, K. (2009), ‘Newborns’ Cry Melody Is Shaped by Their Native Language’, Current Biology, 19 (23), 1994–1997.

14. Falk, D. (2004), ‘Prelinguistic evolution in early hominins: Whence motherese? ’, Behavioral and Brain Sciences, 27, 491–541.

15. Cooper, R.P., and Aslin, R.N. (1990), ‘Preference for infant-directed speech in the first month after birth’, Child Development, 61 (5), 1584–1595.

16. Werker, J.F., and McLeod, P.J. (1989), ‘Infant preference for both male and female infant-directed talk: A developmental study of attentional affective responsiveness’, Canadian Journal of Psychology, 43 (2), 230–246.

17. Masataka, N. (2003), The onset of language. Cambridge: Cambridge University Press.

18. Boukydis, C.F., and Burgess, R.L. (1982), ‘Adult Physiological Response to Infant Cries: Effects of Temperament of Infant, Parental Status, and Gender’, Child Development, 53 (5), 1291–1298. Swain, J.E., Lorberbaum, J.P., Kose, S., and Strathearn, L. (2007), ‘Brain basis of early parent-infant interactions: psychology, physiology, and in vivo functional neuroimaging studies’, Journal of Child Psychology and Psychiatry, 48 (3–4), 262–287.

19. Werker, J.F., and McLeod, P.J. (1989), ‘Infant preference for both male and female infant-directed talk: A developmental study of attentional affective responsiveness’, Canadian Journal of Psychology, 43 (2), 230–246.

20. Trainor, L.J., Austin, C.M., and Desjardins, R.N. (2000), ‘Is infant directed speech prosody a result of the vocal expression of emotion? ’, Psychological Science, 11 (3), 188–195.

21. Kuhl, P.K., et al. (1997), ‘Cross-language analysis of phonetic units in language addressed to infants’, Science, 277 (5326), 684–686.

22. Burnham, D.K., Vollmer-Conna, U., and Kitamura, C. (2000), ‘Talking to infants, pets, and adults: What’s the difference? ’, paper presented at the XIIth Biennial International Conference on Infant Studies, Brighton, UK.

23. Trainor, L.J., and Desjardins, R.N. (2002), ‘Pitch characteristics of infant-directed speech affect infants’ ability to discriminate vowels’, Psychonomic Bulletin and Review, 9, 335–340.

24. Kitamura, C., and Lam, C. (2009), ‘Age-specific preferences for affective intent’, Infancy, 14, 77–100.

25. Sakkalou, E., and Gattis, M. (2012), ‘Infants infer intentions from prosody’, Cognitive Development, 27 (1), 1–16.

26. Pinker, S. (1994), The Language Instinct: How the Mind Creates Language. New York: HarperCollins.

Глава 2. Музыка в детстве

1. Эта фраза относится к использованию данного термина в научной литературе и не подразумевает ссылки на охраняемый авторским правом термин The Mozart Effect®, copyright Don Campbell.

2. Rauscher, F.H., Shaw, G.L., and Ky, K.N. (1993), ‘Music and spatial task performance’, Nature, 365, 611.

3. Rauscher, F.H., Shaw, G.L., and Ky, K.N. (1995), ‘Listening to Mozart enhances spatial-temporal reasoning: Towards a neurophysiological basis’, Neuroscience Letters, 185 (1), 44–47.

4. Rauscher, F.H., and Shaw, G.L. (1998), ‘Key components of the Mozart Effect’, Perceptual and Motor Skills, 86 (3), 835–841.

5. Nantais, K.M., and Schellenberg, E.G. (1999), ‘The Mozart Effect: An Artifact of Preference’, Psychological Science, 10 (4), 370–373.

6. Schellenberg, E.G. (2012), ‘Cognitive performance after music listening: A review of the Mozart effect’, in R.A.R. MacDonald, G. Kreutz and L. Mitchell (eds.), Music, Health and Wellbeing (pp. 324–338). Oxford: Oxford University Press.

7. Husain, G., Thompson, W.F., and Schellenberg, E.G. (2002), ‘Effects of Musical Tempo and Mode on Arousal, Mood and Spatial Abilities’, Music Perception, 20 (2), 151–171.

8. Steele, K.M., Bass, K.E., and Crook, M.D. (1999), ‘The Mystery of the Mozart Effect: Failure to Replicate’, Psychological Science, 10 (4), 366–369.

9. Chabris, C.F. (1999), ‘Prelude or requiem for the “Mozart effect”? ’, Nature, 400, 826–827.

10. Schellenberg, E.G. (2012), ‘Cognitive performance after music listening: A review of the Mozart effect’, in R.A.R. MacDonald, G. Kreutz, and L. Mitchell (eds.), Music, health and wellbeing (pp. 324–338). Oxford: Oxford University Press.

11. Brandler, S., and Rammsayer, T.H. (2003), ‘Differences in Mental Abilities between Musicians and Non-musicians’, Psychology of Music, 31 (2), 123–138.

12. Schellenberg, E.G. (2004), ‘Music lessons enhance IQ’, Psychological Science, 15 (8), 511–514.

13. Schellenberg, E.G. (2006), ‘Long-term positive associations between music lessons and IQ’, Journal of Educational Psychology, 98, 457–468.

14. Weiss, M.W., and Schellenberg, E.G. (2011), ‘Augmenting cognition with music’, in I. Segev and H. Markram (eds.), Augmenting cognition (pp. 103–125). Lausanne, Switzerland: EPFL Press.

15. Trainor, L.J., Shahin, A., and Roberts, L.E. (2003), ‘Effects of musical training on the auditory cortex in children’, Annals of the New York Academy of Sciences, 999, 506–513. Shahin, A., et al. (2008), ‘Music training leads to the development of timbre-specific gamma band activity’, NeuroImage, 41 (1), 113–122.

16. Krumhansl, C.L. (1990), Cognitive foundations of musical pitch. New York: Oxford University Press.

17. Strait, D., and Kraus, N. (2011), ‘Playing music for a smarter ear: Cognitive, perceptual and neurobiological evidence’, Music Perception, 29 (2), 133–146.

18. Strait, D.L., Parbery-Clark, A., Hittner, E., and Kraus, N. (2012), ‘Musical training during early childhood enhances the neural encoding of speech in noise’, Brain & Language, 123, 191–201.

19. Kraus, N., and Chandrasekaran, B. (2010), ‘Music training for the development of auditory skills’, Nature Reviews Neuroscience 11, 599–605.

20. http: //www.soc.northwestern.edu/brainvolts/projects/music/music_video.html.

21. Parbery-Clark, A., et al. (2011), ‘Musical Experience and the Aging Auditory System: Implications for Cognitive Abilities and Hearing Speech in Noise’, PLOS ONE 6 (5): e18082. Kraus, N., Strait, D.L., and Parbery-Clark, A. (2012), ‘Cognitive factors shape brain networks for auditory skills: Spotlight on auditory working memory’, Annals of the New York Academy of Sciences, 1252, 100–107.

22. Moreno, S., and Besson, M. (2006), ‘Musical training and language-related brain electrical activity in children’, Psychophysiology, 43 (3), 287–291.

23. Moreno, S., et al. (2009), ‘Musical training influences linguistic abilities in 8-year-old children: More evidence for brain plasticity’, Cerebral Cortex, 19 (3), 712–723.

24. Moreno, S., et al. (2009), ‘Musical training influences linguistic abilities in 8-year-old children: More evidence for brain plasticity’, Cerebral Cortex, 19 (3), 712–723: «Обучение музыке было основано на следующих аспектах: ритм — детей учили воспроизводить и импровизировать ритмы при разных темпах и метрах; мелодия — упражнения состояли из воспроизведения и импровизации мелодий, а также создания внутренних слуховых образов. Детей учили классифицировать мелодические рисунки и интервалы [то есть движение вверх и вниз; низкие, средние и высокие тоны; относительное чтение нот]; гармония — дети слушали гармонические последовательности вида I–IV–V–I, I–V–IV–I или I–IV–V–VI, которые их учили узнавать, различать и воспроизводить; тембр — распознавание тембров различных инструментов и голосов; форма — дети слушали классическую музыку и мелодии для детей».

25. Anvari, S.H., Trainor, L.J., Woodside, J., and Levy, B.A. (2002), ‘Relations among musical skills, phonological processing, and early reading ability in preschool children’, Journal of Experimental Child Psychology, 83 (2), 111–130.

26. Strait D.L., Hornickel, J., Kraus, N. (2011), ‘Subcortical processing of speech regularities predicts reading and music aptitude in children’, Behavioral and Brain Functions, 7, 44.

27. Hallam, S. (2010), ‘The power of music: Its impact on the intellectual, social and personal development of children and young people’, International Journal of Music Education, 28 (3), 269–289.

28. Sloboda, J.A., and Howe, M.J.A. (1992), ‘Transitions in the early musical careers of able young musicians: choosing instruments and teachers’, Journal of Research in Music Education, 40 (4), 283–294.

29. Sosniak, L.A. (1985), ‘Learning to be a concert pianist’, in B.S. Bloom (ed.), Developing talent in young people (pp. 19–67). New York: Ballantine.

30. Sloboda, J.A., and Howe, M.J.A. (1991), ‘Biographical precursors of musical excellence: An interview study’, Psychology of Music, 19 (1), 3–21.

31. Davidson, J.W., et al. (1998), ‘Characteristics of Music Teachers and the Progress of Young Instrumentalists’, Journal of Research in Music Education, 46 (1) 141–160.

32. Davidson, J.W., et al. (1998), ‘Characteristics of Music Teachers and the Progress of Young Instrumentalists’, Journal of Research in Music Education, 46 (1) 141–160.

33. Austin, J., Renwick, J., and McPherson, G.E. (2006), ‘Developing motivation’, in G.E. McPherson (ed.), The child as musician: A handbook of musical development (pp. 213–238). Oxford: Oxford University Press.

34. Hallam, S. (1998), Instrumental Teaching: a practical guide to better teaching and learning. Oxford: Heinemann.

35. Ericsson, K.A., Krampe, R.T., and Tesch-Rö mer, C. (1993), ‘The Role of Deliberate Practice in the Acquisition of Expert Performance’, Psychological Review, 100 (3), 363–406.

36. Marcus, G. (2012), Guitar Zero: The New Musicians and the Science of Learning. London: Penguin Press.

37. McPherson, G.E., and Renwick, J. (2011), ‘Self-regulation and mastery of musical skills’, in B. Zimmerman and D. Schunk (eds.), Handbook of self-regulation of learning and performance. New York: Routledge.

38. McPherson, G.E. (2005), ‘From child to musician: Skill development during the beginning stages of learning an instrument’, Psychology of Music, 33 (1), 5–35.

39. Sloboda, J.A., and Davidson, J.W. (1996), ‘The young performing musician’, in I. Deliè ge and J.A. Sloboda (eds.), Musical Beginnings: Origins and development of musical competence (pp. 171–190). Oxford: Oxford University Press.

40. Pitts, S., and Davidson, J. (2000), ‘Developing effective practice strategies: Case studies of three young instrumentalists’, Music Education Research, 2 (1), 45–56.

41. Pitts, S., and Davidson, J. (2000), ‘Developing effective practice strategies: Case studies of three young instrumentalists’, Music Education Research, 2 (1), 45–56.

42. Sloboda, J.A., Davidson, J.W., Howe, M.J.A., and Moore, D.G. (1996), ‘The role of practice in the development of performing musicians’, British Journal of Psychology, 87, 287–309.

43. Trainor, L.J., et al. (2012), ‘Becoming musically enculturated: effects of music classes for infants on brain and behavior’, Annals of the New York Academy of Sciences, 1252, 129–138.

44. Hannon, E.E., and Trainor, L.J. (2007), ‘Music acquisition: Effects of enculturation and formal training on development’, Trends in Cognitive Sciences, 11 (11), 466–472. Bigand, E., and Poulin-Charronnat, B. (2006), ‘Are we “experienced listeners“? A review of the musical capacities that do not depend on formal musical training’, Cognition, 100 (1), 100–130. Trainor, L.J., and Trehub, S.E. (1994), ‘Key membership and implied harmony in Western tonal music: Developmental perspectives’, Perception and Psychophysics, 56 (2), 125–132.

Глава 3. Музыка в подростковые годы

1. Вы поймете, что я подразумеваю, если смотрели фильм «Отпетые мошенники» с Майклом Кейном и Стивом Мартином в главных ролях. Хороший фильм.

2. Bonneville-Roussy, A., Rentfrow, P.J., Xu, M.K., and Potter, J. (2013), ‘Music through the ages: Trends in musical engagement and preferences from adolescence through middle adulthood’, Journal of Personality and Social Psychology, 105 (4), 703–717.

3. Juslin, P.N., et al. (2008), ‘An experience sampling study of emotional reactions to music: Listener, music, and situation’, Emotion, 8 (5), 668–683.

4. DeNora, T. (1999), ‘Music as a technology of the self’, Poetics, 27, 31–56. DeNora, T. (2000), Music in everyday life. Cambridge: Cambridge University Press.

5. Gabrielsson, A. (transl. R. Bradbury) (2011), Strong experiences with music. Oxford: Oxford University Press.

6. North, A.C., Hargreaves, D.J., and Hargreaves, J.J. (2004), ‘Uses of music in everyday life’, Music Perception, 22 (1), 41–77. North, A.C., and Hargreaves, D.J. (2009), ‘The power of music’, The Psychologist, 22 (2), 1012–1015.

7. Allen, R., Walsh, R., and Zangwell, N. (2013), ‘The same, only different: what can responses to music in autism tell us about the nature of musical emotions? ’, Frontiers in Psychology, 4, 156.

8. Juslin, P., and Vä stfjä ll, D. (2008), ‘Emotional responses to music: The need to consider underlying mechanisms’, Behavioral and Brain Sciences, 31 (5), 559–575.

9. Juslin, P.N., and Laukka, P. (2003), ‘Communication of emotion in vocal expression and music performance: Different channels, same code? ’, Psychological Bulletin, 129 (5), 770–814.

10. Lerdahl, F., and Jackendoff, R. (1983), A generative theory of tonal music. Cambridge, MA: MIT Press.

11. Salimpoor, V.N., et al. (2011), ‘Anatomically distinct dopamine release during anticipation and experience of peak emotion to music’, Nature Neuroscience, 14, 257–262.

12. Davies, J.B. (1978), The Psychology of Music. London: Hutchinson.

13. North, A.C., Hargreaves, D.J., and O’Neill, S.A. (2000), ‘The importance of music to adolescents’, British Journal of Educational Psychology, 70, 255–272.

14. Krause, A.E., North, A.C., and Hewitt, L.Y. (2013), ‘Music listening in everyday life: Devices and choice’. Psychology of Music, DOI: 10.1177/0305735613496860.

15. Schwartz, K.D., and Fouts, G.T (2003), ‘Music preferences, personality style and developmental issues of adolescents’, Journal of Youth and Adolescence, 32 (3), 205–213.

16. Lonsdale, A.J., and North, A.C. (2011), ‘Why do we listen to music? A uses & gratifications analysis’, British Journal of Psychology, 102 (1), 108–134.

17. Mullis, R.L., and Chapman, P. (2000), ‘Age, gender, and self-esteem differences in adolescent coping style’, Journal of Social Psychology, 140 (4), 539–541.

18. Saarikallio, S. (2007), ‘Music as mood regulation in adolescence’, Ph.D. dissertation, University of Jyvä skylä, Jyvä skylä, Finland. Saarikallio, S., and Erkkilä, J. (2007), ‘The role of music in adolescents’ mood regulation’, Psychology of Music, 35 (1), 88–109.

19. Miranda, D., and Claes, M. (2009), ‘Music listening, coping, peer affiliation and depression in adolescence’, Psychology of Music, 37 (2), 215–233.

20. Raviv, A., Bar-Tal, D., Raviv, A., and Ben-Horin, A. (1996), ‘Adolescent idolization of pop singers: Causes, expressions, and reliance’, Journal of Youth and Adolescence, 25 (5), 631–650. Saarikallio, A., and Erkkilä, J. (2007), ‘The role of music in adolescents’ mood regulation’, Psychology of Music, 35 (1), 88–109.

21. Saarikallio, S., and Erkkilä, J. (2007), ‘The role of music in adolescents’ mood regulation’, Psychology of Music, 35 (1), 88–109.

22. North, A.C., and Hargreaves, D.J. (2003), ‘Is music important? Two common misconceptions’, The Psychologist, 16 (8), 406–410.

23. Статья Associated Press от 1957 г., полученная по адресу: http: //quoteinvestigator.com/2012/07/13/rock-degenerate/ (загружена 3 сентября 2012 г.).

24. Maguire, E.R., and Snipes, J.B. (1994), ‘Reassessing the link between country music and suicide’, Social Forces, 72 (4), 1239–1243. Mulder, J., et al. (2007), ‘Music Taste Groups and Problem Behavior’, Journal of Youth and Adolescence, 36 (3), 313–324.

25. Bleich, S., Zillmann, D., and Weaver, J. (1991), ‘Enjoyment and consumption of defiant rock music as a function of adolescent rebelliousness’, Journal of Broadcasting and Electronic Media, 35 (3), 351–366. Hansen, C.H., and Hansen, R.D. (1990), ‘Rock music videos and antisocial behavior’, Basic and Applied Social Psychology, 11 (4), 357–369. Johnson, J.D., Jackson, L.A., and Gatto, L. (1995), “Violent attitudes and deferred academic aspiration: Deleterious effects of exposure to rap music’, Basic and Applied Social Psychology, 16 (1–2), 27–41.

26. Anderson, C.A., et al. (2003), ‘The influence of media violence on youth’, Psychological Science in the Public Interest, 4 (3), 81–110.

27. Martin, G., Clarke, M., and Pearce, C. (1993), ‘Adolescent suicide: Music preference as an indicator of vulnerability’, Journal of the American Academy of Child and Adolescent Psychiatry, 32 (3), 530–535.

28. Hansen, C.H., and Hansen, R.D. (1990), ‘Rock music videos and antisocial behavior’, Basic and Applied Social Psychology, 11 (4), 357–369. Johnson, J.D., Jackson, L.A., and Gatto, L. (1995), “Violent attitudes and deferred academic aspirations: Deleterious effects of exposure to rap music’, Basic and Applied Social Psychology, 16 (1–2), 27–41. Kalof, L. (1999), ‘The effects of gender and music video imagery on sexual attitudes’, Journal of Social Psychology, 139 (3), 378–385.

29. Anderson, C.A., Carnagey, N.L., and Eubanks, J. (2003), ‘Exposure to violent media: The effects of songs with violent lyrics on aggressive thoughts and feelings’, Journal of Personality and Social Psychology, 84 (5), 960–971.

30. North, A.C., and Hargreaves, D.J. (2005), ‘Brief report: Labelling effects on the perceived deleterious consequences of pop music listening’, Journal of Adolescence, 28 (3), 433–440.

31. Fischer, P., and Greitemeyer, T. (2006), ‘Music and aggression. The impact of sexual-aggressive­ song lyrics on aggression-related thoughts, emotions and behavior toward the same and the opposite sex’, Personality and Social Psychology Bulletin, 32 (9), 1165–1176.

32. MacDonald, R.A.R., Hargreaves, D.J., and Miell, D. (eds.), Musical identities. Oxford: Oxford University Press.

33. O’Neill, S.A. (2002), ‘The self-identity of young musicians’, in R.A.R. MacDonald, D.J. Hargreaves and D. Miell (eds.), Musical identities (pp. 79–96). Oxford: Oxford University Press.

34. Rentfrow, P.J. (2012), ‘The role of music in everyday life: Current directions in the social psychology of music’, Social and Personality Psychology, 6 (5), 402–416.

35. Rentfrow, P.J., and Gosling, S.D. (2003), ‘The do re mi’s of everyday life: the structure and personality correlates of music preferences’, Journal of Personality and Social Psychology, 84 (6), 1236–1256.

36. Tarrant, M., North, A.C., and Hargreaves, D.J. (2000), ‘English and American adolescents’ reasons for listening to music’, Psychology of Music, 28 (2), 166–173.

37. Tekman, H.G., and Hortaç su, N. (2002), ‘Aspects of stylistic knowledge: What are different styles like and why do we listen to them? ’, Psychology of Music, 30 (1), 28–47.

38. Berger, J., and Heath, C. (2008), ‘Who Drives Divergence? Identity-Signaling, Outgroup Dissimilarity, and the Abandonment of Cultural Tastes’, Journal of Personality and Social Psychology, 95 (3), 593–607.

39. Tarrant, M., North, A.C., and Hargreaves, D.J. (2001), ‘Social categorisation, self-esteem, and the estimated musical preferences of male adolescents’, Journal of Social Psychology, 141 (5), 565–581.

40. Zillmann, D., and Gan, S. (1997), ‘Musical taste in adolescence’, in D.J. Hargreaves, and A. North (eds.), The social psychology of music (pp. 161–187). Oxford: Oxford University Press.

41. Knobloch, S., Vorderer, P., and Zillmann, D. (2000), ‘The impact of music preferences on the perception of potential friends in adolescence’, Zeitschrift fü r Sozialpsychologie, 31, 18–30.

42. Rodrí guez-Bailó n, R., Ruiz, J., and Moya, M. (2009), ‘The Impact of Music on Automatically Activated Attitudes: Flamenco and Gypsy People’, Group Processes Intergroup Relations, 12 (3) 381–396.

43. Holbrook, M.B., and Schindler, R.M. (1989), ‘Some exploratory findings on the development of musical tastes’, Journal of Consumer Research, 16, 119–124.

44. Gabrielsson, A. (transl. R. Bradbury) (2011), Strong Experiences with Music. Oxford: Oxford University Press.

45. Rentfrow, P.J. (2012), ‘The role of music in everyday life: Current directions in the social psychology of music’, Social and Personality Psychology, 6 (5), 402–416.

46. Salimpoor, V.N., et al. (2011), ‘Anatomically distinct dopamine release during anticipation and experience of peak emotion to music’, Nature Neuroscience, 14, 257–262.

47. Janata, P., Tomic, S.T., and Rakowski, S.K. (2007), ‘Characterisation of music-evoked autobiographical memories’, Memory, 15, 845–860.

48. Janata, P. (2009), ‘The neural architecture of music-evoked autobiographical memories’, Cerebral Cortex, 19 (11), 2579–2594.

49. (Sittin’ on) the Dock of the Bay («Сидя на причале в заливе») — Отис Реддинг, Across the Universe («Через Вселенную») — Beatles, Bachata Rosa («Розовая бачата») — Хуан Луис Герра, Mr Tambourine Man («Мистер с тамбурином») — The Byrds, Piece of my Heart («Кусочек моего сердца») — Big Brother and the Holding Company (солирует Дженис Джоплин). Bachata Rosa явно выбивается из этого ряда.

50. The Moors («Вересковая пустошь») — Weather Report, If You Want Me To Stay («Если ты хочешь, чтобы я остался») — Слай Стоун, Concrete Jungle («Бетонные джунгли») — Wailers, September Gurls («Девушки сентября») — Big Star Алекса Чилтона, Be My Baby («Будь моим любимым») — The Ronettes, Every Day («Каждый день») — Бадди Холли.

Часть II. Музыка в жизни взрослых

Глава 4. Музыкальные взрослые

1. Altenmü ller, E., and Schlaug, G. (2012), ‘Music, Brain and Health: Exploring Biological Foundations of Music’s Health Effect’, in R.A.R. MacDonald, G. Kreutz and L. Mitchell (eds.), Music, Health, & Wellbeing. Oxford: Oxford University Press.

2. Maguire, E.A., Woollett, K., and Spiers, H.J. (2006), ‘London taxi drivers and bus drivers: A structural MRI and neuropsychological analysis’, Hippocampus, 16 (12), 1091–1101.

3. Driemeyer, J., et al. (2008), ‘Changes in gray matter induced by learning — revisited’, PLOS ONE, 3 (7), e2669.

4. Stewart, L. (2008), ‘Do musicians have different brains? ’, Clinical Medicine, 8, 304–308. Barrett, K.C., Ashley, R., Strait, D.L., and Kraus, N. (2013) Art and Science: How Musical Training Shapes the Brain. Frontiers in Auditory Cognitive Neuroscience, 4, 713.

5. Hyde, K.L., et al. (2009), ‘The effects of musical training on structural brain development: a longitudinal study’, Annals of the New York Academy of Sciences, 1169, 182–186. Hyde, K.L., et al. (2009), ‘Musical Training Shapes Structural Brain Development’, Journal of Neuroscience, 29 (10), 3019–3025.

6. Schlaug, G., Jancke, L., Huang, Y., and Staiger, J.F. (1995), ‘Increased corpus callosum size in musicians’, Neuropsychologia, 33 (8), 1047–1055.

7. Westerhausen, R., et al. (2006), ‘Interhemispheric transfer time and structural properties of the corpus callosum’, Neuroscience Letters, 409 (2), 140–145. Patston, L.L.M, et al. (2007), ‘The unusual symmetry of musicians: Musicians have equilateral interhemispheric transfer for visual information’, Neuropsychologia, 45 (9), 2059–2065.

8. Ridding, M.C., Brouwer, B., and Nordstrom, M.A. (2000), ‘Reduced interhemispheric inhibition in musicians’, Experimental Brain Research, 133, 249–253.

9. Bengtsson, S.L., et al. (2005), ‘Extensive piano practicing has regionally specific effects on white matter development’, Nature Neurosciences, 8, 1148–1150.

10. Halwani, G.F., Loui, P., Rueber, T, and Schlaug, G. (2011), ‘Effects of practice and experience on the arcuate fasciculus: comparing singers, instrumentalists, and non-musicians’, Frontiers in Psychology, 2, 156.

11. Stewart, L. (2008), ‘Do musicians have different brains? ’, Clinical medicine, 8 (3), 304–308.

12. Ragert, P., Schmidt, A., Altenmü ller, E, and Dinse, H.R. (2004), ‘Superior tactile performance and learning in professional pianists: evidence for meta-plasticity in musicians’, European Journal of Neuroscience, 19 (2), 473–478.

13. Watanabe, D., Savion-Lemieux, T., and Penhune, V.B. (2007), ‘The effect of early musical training on adult motor performance: Evidence for a sensitive period in motor learning’, Experimental Brain Research, 176 (2), 332–340.

14. Amunts, K., et al. (1997), ‘Motor cortex and hand motor skills: Structural compliance in the human brain’, Human Brain Mapping, 5 (3), 206–215.

15. Bangert, M., and Schlaug, G. (2006), ‘Specialization of the specialized in features of external human brain morphology’, European Journal of Neuroscience, 24 (6), 1832–1834.

16. Pantev, C., Engelien, A., Candia, V., and Elbert, T. (2001), ‘Representational Cortex in Musicians: Plastic Alterations in Response to Musical Practice’, Annals of the New York Academy of Sciences, 930 (1), 300–314.

17. Elbert, T., et al. (1995), ‘Increased cortical representation of the fingers of the left hand in string players’, Science, 270 (5234), 305–307.

18. Schneider, P., et al. (2002), ‘Morphology of Heschl’s gyrus reflects enhanced activation in the auditory cortex of musicians’, Nature Neuroscience, 5 (7), 688–694.

19. Gaab, N., et al. (2005), ‘Neural correlates of rapid spectrotemporal processing in musicians and nonmusicians’, Annals of the New York Academy of Sciences, 1060, 82–88. Musacchia, G., Strait, D., and Kraus, N. (2008), ‘Relationships between behavior, brainstem and cortical encoding of seen and heard speech in musicians and nonmusicians’, Hearing Research, 241 (1–2), 34–42.

20. Strait, D., and Kraus, N. (2011), ‘Playing music for a smarter ear: cognitive, perceptual and neurobiological evidence’, Music Perception, 29 (2), 133–146.

21. Pantev, C., et al. (1998), ‘Increased auditory cortical representation in musicians’, Nature, 392 (6678), 811–814.

22. Pantev, C., et al. (2001), ‘Timbre-specific enhancement of auditory cortical representations in musicians’, Neuroreport, 12 (1), 169–174.

23. Strait, D.L., et al. (2012), ‘Specialization among the specialized: auditory brainstem function is tuned in to timbre’, Cortex, 48 (3), 360–362.

24. Wong, P.C.M., et al. (2007), ‘Musical Experience Shapes Human Brainstem Encoding of Linguistic Pitch Patterns’, Nature Neuroscience, 10 (4), 420–422.

25. Slevc, L.R., and Miyake, A. (2006), ‘Individual differences in second language proficiency: Does musical ability matter? ’, Psychological Science, 17 (8), 675–681.

26. Parbery-Clark, A., Strait, D.L., and Kraus, N. (2011), ‘Context-dependent encoding in the auditory brainstem subserves enhanced speech-in-noise perception in musicians’, Neuro­psychologia, 49 (12), 3338–3345.

27. Parbery-Clark, A., Tierney, A., Strait, D.L., and Kraus, N. (2012), ‘Musicians have fine-tuned neural distinction of speech syllables’, Neuroscience, 219, 111–119.

28. White-Schwoch, T., et al. (2013), ‘Older adults benefit from music training early in life: biological evidence for long-term training-driven plasticity’, Journal of Neuroscience, 33 (45), 17667–17674.

29. Haueisen, J., and Knö sche, T.R. (2001), ‘Involuntary Motor Activation in Pianists Evoked by Music Perception’, Journal of Cognitive Neuroscience, 13 (6), 786–792.

30. Jakobson, L.S., Lewycky, S.T., Kilgour, A.R., and Stoesz, B.M. (2008), ‘Memory for verbal and visual material in highly trained musicians’, Music Perception, 26 (1), 41–55. Ho, Y., Cheung, M., and Chan, A.S. (2003), ‘Music Training Improves Verbal but Not Visual Memory: Cross-Sectional and Longitudinal Explorations in Children’, Neuropsychology, 17 (3), 439–450. Franklin, M.S., et al. (2008), ‘The effects of musical training on verbal memory’, Psychology of Music, 36 (3), 353–365.

31. Watanabe, D., Savion-Lemieux, T., and Penhune, V.B. (2007), ‘The effect of early musical training on adult motor performance: evidence for a sensitive period in motor learning’, Experimental Brain Research, 176 (2), 332–340. Meister et al. (2005), ‘Effects of long-term practice and task complexity in musicians and nonmusicians performing simple and complex motor tasks: Implications for cortical motor organization’, Human Brain Mapping, 25 (3), 345–352.

32. Zatorre, R.J. (2013), ‘Predispositions and Plasticity in Music and Speech Learning: Neural Correlates and Implications’, Science, 342 (6158), 585–589.

33. Stewart, L. (2011), ‘Characterizing Congenital Amusia’, Quarterly Journal of Experimental Psychology, 64 (4), 625–638.

34. Cuddy, L.L., Balkwill, L.-L., Peretz, I., and Holden, R.R. (2005), ‘Musical difficulties are rare: A study of “tone deafness” among university students’, Annals of the New York Academy of Science, 1060, 311–324.

35. Sloboda, J.A., Wise, K.J., and Peretz, I. (2005), ‘Quantifying tone deafness in the general population’, The Neurosciences and Music II: From Perception to Performance (Annals of the New York Academy of Sciences), 1060, 255–261.

36. Wise, K.J., and Sloboda, J.A. (2008), ‘Establishing an empirical profile of self-defined “tone deafness”: Perception, singing performance and self-assessment’, Musicae Scientiae, 12, 3–23.

37. Anderson, S., et al. (2012), ‘Congenital amusia: is there potential for learning? A study of the effects of singing interventions on pitch perception and production of those with congenital amusia’, Annals of the New York Academy of Sciences. 1252, 345–353.

38. Loui, P., Guenther, F.H., Mathys, C, and Schlaug, G. (2008), ‘Action-perception mismatch in tone-deafness’, Current Biology, 18 (8), R331-R332. Williamson, V.J., et al. (2012), ‘Perception and action de-coupling in congenital amusia: Sensitivity to task demands’, Neuro­psychologia, 50 (1), 172–180.

39. Peretz, I., et al. (2002), ‘Congenital Amusia: a disorder of fine-grained pitch discrimination’, Neuron, 33 (2), 185–191.

40. Lebrun, M.-A., et al. (2012), ‘Congenital amusia in childhood: A case study’, Cortex, 48 (6), 683–688.

41. Kalmus, H., and Fry, D.B. (1980), ‘On tune deafness (dysmelodia): frequency, development, genetics and musical background’, Annals of Human Genetics, 43 (4), 369–382.

42. Henry, M.J., and McAuley, J.D. (2010), ‘On the Prevalence of Congenital Amusia’, Music Perception, 27 (5), 413–418.

43. Omigie, D., Mü llensiefen, D., and Stewart, L., (2013) ‘The experience of music in congenital amusia’, Music Perception, 30 (1), 1–18.

44. McDonald, C., and Stewart, L. (2008), ‘Uses and functions of music in congenital amusia’, Music Perception, 25 (4), 345–355.

45. Williamson, V.J., and Stewart, L. (2010), ‘Memory for pitch in Congenital Amusia: Beyond a fine-grained pitch perception problem’, Memory, 18 (6), 657–669.

46. Loui, P., Alsop, D., and Schlaug, G. (2009), ‘Tone-Deafness: a Disconnection Syndrome? ’, Journal of Neuroscience, 29 (33), 10215–10220.

47. Peretz, I., Brattico, E., Jä rvenpä ä, M., and Tervaniemi, M. (2009), ‘The amusic brain: in tune, out of key, and unaware’, Brain, 132 (5), 1277–1286. Omigie, D., Pearce, M., Williamson, V.J., and Stewart, L. (2013), ‘Electrophysiological correlates of melodic processing in congenital amusia’, Neuropsychologia, 51 (9), 1749–1762.

48. Moreau, P., Jolicoeur, P., and Peretz, I. (2009), Automatic brain responses to pitch changes in congenital amusia’, Annals of the New York Academy of Sciences, 1169, 191–194.

49. Omigie, D., Pearce, M.T., and Stewart, L. (2012), ‘Tracking of pitch probabilities in congenital amusia’, Neuropsychologia, 50 (7), 1483–1493.

50. http: //faculty.washington.edu/losterho/DemorestXOsterhout_2012.pdf.

51. Egermann, H., Fernando, N., Chuen, L., and McAdams, S. (in preparation), ‘Universal psychophysiological response to music — Comparing Western listeners to Congolese Pygmies’.

52. Demorest, S.M., Morrison, S.J., Beken, M.N., and Jungbluth, D. (2008), ‘Lost in translation: an enculturation effect in music memory performance’, Music Perception, 25, 213–223. Morrison, S.J., Demorest, S.M., and Stambaugh, L.A. (2008), ‘Enculturation effects in music cognition: the role of age and music complexity’, Journal of Research in Music Education, 56 (2), 118–129.

53. Demorest, S.M., et al. (2010), ‘Music comprehension among Western and Turkish listeners: FMRI investigation of an enculturation effect’, Social, Cognitive and Affective Neuroscience, 5 (2–3), 282–291. Demorest, S.M., and Osterhout, L.L. (2012), ‘ERP responses to cross-cultural melodic expectancy violations’, Annals of the New York Academy of Sciences, 1252, 152–157.

54. Wong, E.C., Chan, A.H., Roy, A., and Margulis, E.H. (2011), ‘The bimusical brain is not two monomusical brains in one: evidence from musical affective processing’, Journal of Cognitive Neuroscience, 23 (12), 4082–4093.

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56. Marcus, G. (2011), Guitar Zero: The new musician and the science of learning. New York: Penguin Press.

57. Mithen, S.J. (2005), The Singing Neanderthals: the Origins of Music, Language, Mind and Body. Cambridge, Massachusetts: Harvard University Press.

58. Mithen, S., and Parsons, L. (2008), ‘The Brain as a Cultural Artefact’, Cambridge Archaeological Journal, 18 (3), 415–422.

59. Zatorre, R.J., Delhommeau, K., and Zarate, J.M. (2012), ‘Modulation of auditory cortex response to pitch variation following training with microtonal melodies’, Frontiers in Psychology, 3, 544. Lappe, C., Trainor, L.J., Herholz, S.C., and Pantev, C. (2011), ‘Cortical Plasticity Induced by Short-Term Multimodal Musical Rhythm Training’, PLOS ONE, 6 (6): e21493.

60. Herholz, S.C., and Zatorre, R.J. (2012), ‘Musical Training as a Framework for Brain Plasticity: Behavior, Function, and Structure’, Neuron, 76 (3), 486–502.

Глава 5. Музыка на работе

1. Моя коллега и подруга Аннели Берониус Хааке много лет изучает музыку и работу, и я благодарю ее за вдохновение, во многом определившее первую часть этой главы.

2. Antrim, D.K. (1943), ‘Music in industry’, The Musical Quarterly, XXIX (3), 275–290. Kirkpatrick, E.H. (1943), ‘Music Takes the Mind Away’, Personnel Journal, 22, 225–228.

3. Wyatt, S., and Langdon, J.N. (1937), ‘Fatigue and boredom in repetitive work’, Industrial Health Research Board report No. 77. London: Her Majesty’s Stationery Office.

4. Fox, J.G., and Embrey, E.D. (1972), ‘Music — an aid to productivity’, Applied Ergonomics, 3 (4), 202–205. Newman Jr, R.I, Hunt, D.L., and Rhodes, F. (1966), ‘Effect of music on employee attitude and productivity in a skateboard factory’, Journal of Applied Psychology, 50 (6), 493–496.

5. Uhrbrock, R.S. (1961), ‘Music on the job: its influence on worker morale and production’, Personnel Psychology, 14 (1), 9–38.

6. Smith, W.A.S. (1961), ‘Effects of industrial music in a work situation requiring complex mental activity’, Psychological Reports, 8, 159–162.

7. Oldham, G.R., et al. (1995), ‘Listen while you work? Quasi-experimental relations between personal-stereo headset use and employee work response’, Journal of Applied Psychology, 80 (5), 547–564.

8. Lesiuk, T. (2005), ‘The effect of music listening on work performance’, Psychology of Music, 33 (2), 173–191.

9. Haake, A.B. (2011), ‘Individual music listening in workplace settings: an exploratory survey of offices in the UK’, Musicae Scientiae, 15 (1), 107–129.

10. Kä mpfe, J., Sedlmeier, P., and Renkewitz, F. (2010), ‘The impact of background music on adult listeners: A meta-analysis’, Psychology of Music, 39 (4), 424–448.

11. Berlyne, D.E. (1971), Aesthetics and psychobiology. New York: Meredith. Kahneman, D. (1973), ‘Arousal and attention’, in D. Kahneman (ed.), Attention and effort (pp. 28–49). Englewood Cliffs, NJ: Prentice Hall. Yerkes, R.M., and Dodson, J.D. (1908), ‘The relation of strength of stimulus to rapidity of habit-formation’, Journal of Comparative Neurology and Psychology, 18 (5), 459–482.

12. Thompson, W.F., Schellenberg, E.G., and Letnic, A.K. (2012), ‘Fast and loud music disrupts reading comprehension’, Psychology of Music, 40, 698–706.

13. Csikszentmihalyi, M. (1990), Flow: The Psychology of Optimal Experience. New York: Harper & Row.

14. Thompson, W.F., Schellenberg, E.G., and Husain, G. (2001), ‘Mood, arousal, and the Mozart effect’, Psychological Science, 12 (3), 248–251.

15. Furnham, A., and Bradley, A. (1997), ‘Music While You Work: The Differential Distraction of Background Music on the Cognitive Test Performance of Introverts and Extraverts’, Applied Cognitive Psychology, 11 (5), 445–455.

16. Eysenck, H. (1967), The biological basis of personality. Springfield, IL: Thomas.

17. Cassidy, G., and MacDonald, R.A.R. (2007), ‘The effect of background music and background noise on the task performance of introverts and extraverts’, Psychology of Music, 35 (3), 517–537.

18. Chamorro-Premuzic, T., and Furnham, A. (2007), ‘Personality and music: Can traits explain how people use music in everyday life? ’, Journal of British Psychology, 98 (2), 175–185.

19. Martí Pé rez, J. (1997), ‘When music becomes noise: Sound and music that people in Barcelona hear but don’t want to listen to’, World of Music, 39 (2), 9–17.

20. Parente, J.A. (1976), ‘Musical preference as a factor of music distraction’, Perceptual and Motor Skills, 43, 337–338.

21. Greasley, A.E. (2008), ‘Engagement with music in everyday life: An in-depth study of adults’ musical preferences and listening behaviours’ (Unpublished doctoral thesis, Keele University, Stoke-on-Trent, UK).

22. Cassidy G.G., and MacDonald, R.A.R. (2010), ‘The effects of music on time perception and performance of a driving game’, Scandinavian Journal of Psychology, 51 (6), 455–464.

23. Hartley, L.R., and Williams, T. (1977), ‘Steady state noise and music and vigilance’, Ergonomics, 20 (3), 277–285.

24. Oakes, S., and North, A.C. (2006), ‘The impact of background musical tempo and timbre congruity upon ad content recall and affective response’, Applied Cognitive Psychology, 20 (4), 505–520.

25. Ransdell, S.E., and Gilroy, L. (2001), ‘The effects of background music on word processed writing’, Computers in Human Behavior, 17 (2), 141–148.

26. Kä mpfe, J., Sedlmeier, P., and Renkewitz, F. (2011), ‘The impact of background music on adult listeners: A meta-analysis’, Psychology of Music, 39 (4), 424–448.

27. Lanza, J. (1994), Elevator music: A surreal history of Muzak, easy-listening and other moodsong. New York: St Martin’s Press.

28. Frith, S. (2002), ‘Music and everyday life’, Critical Quarterly, 44 (1), 35–48.

29. Wearden, J.H., and Penton-Voak, I.S. (1995), ‘Feeling the heat: body temperature and the rate of subjective time, revisited’, Quarterly Journal of Experimental Psychology, 48 (2), 129–41.

30. Hammond, C. (2012), Time warped. Edinburgh: Canongate Books Ltd.

31. Yalch, R.F., and Spangenberg, E.R. (2000), ‘The effects of music in a retail setting on real and perceived shopping times’, Journal of Business Research, 42 (2), 139–147.

32. Yalch, R.F., and Spangenberg, E. R. (1990), ‘Effects of store music on shopping behavior’, Journal of Consumer Marketing, 7 (2), 55–63.

33. Kellaris, J.J., and Kent, R.J. (1992), ‘The influence of music on consumers’ temporal perceptions: Does time fly when you’re having fun? ’, Journal of Consumer Psychology, 1 (4), 365–376.

34. North, A.C, and Hargreaves, D.J. (2008), The social and applied psychology of music. Oxford: Oxford University Press.

35. Smith, E.C., and Curnow, R. (1966), “Arousal Hypothesis” and the Effects of Music on Purchase Behavior’, Journal of Applied Psychology, 50, 255–256.

36. Milliman, R.E. (1982), ‘Using Background Music to Affect Behavior of Supermarket Shoppers’, Journal of Marketing, 46 (Summer), 86–91.

37. Caldwell, C., and Hibbert, S.A. (1999), ‘Play That One Again: The effect of music tempo on consumer behaviour in a Restaurant’, in European Advances in Consumer Research, Volu­me 4 (eds. Bernard Dubois, Tina M. Lowrey, L.J. Shrum, and Marc Vanhuele), pp. 58–62.

38. Guê guen, N., Jacob, C., Lourle, M., and Le Guellec, H. (2007), ‘Effect of background music on consumer’s behavior: A field experiment in an open-air market’, European Journal of Scientific Research, 16 (2), 268–272.

39. North, A.C., Hargreaves, D.J., and McKendrick, J. (1999), ‘Music and on-hold waiting time’, British Journal of Psychology, 90, 161–164.

40. Lai, C.-J., et al. (2011), ‘Effect of Background Music Tempo and Playing Method on Shopping Website Browsing’, Smart Innovation, Systems and Technologies, 10, 439–447.

41. Areni, C.S., and Kim, D. (1993), ‘The influence of background music on shopping behaviour: Classical versus Top Forty music in a wine store’, in Advances in Consumer Research, Volume 20 (eds. L. McAlister and M.L. Rothschild), pp. 336–340.

42. North, A.C., Shilcock, A., and Hargreaves, D.J. (2003), ‘The effect of musical style on restaurant customers’ spending’, Environment and Behavior, 35, 712–718.

43. Wilson, S. (2003), ‘The effect of music on perceived atmosphere and purchase intentions in a restaurant’, Psychology of Music, 31 (1), 93–112.

44. North, A.C., Hargreaves, D.J., and McKendrick, J. (1999), ‘The effect of music on instore wine selections’, Journal of Applied Psychology, 84 (2), 271–276.

45. Jacob, C., Gué guen, N., Boulbry, G., and Sami, S. (2009), ‘“Love is in the air“: congruence between background music and goods in a florist’, The International Review of Retail, Distribution and Consumer Research, 19 (1), 75–79.

46. MacInnis, D.J., and Park, C.W. (1991), ‘The Differential Role of Characteristics of Music on High- and Low-involvement Consumers’ Processing of Ads’, Journal of Consumer Research, 18, 161–173.

47. Oakes, S. (2007), ‘Evaluating Empirical Research into Music in Advertising: A Congruity Perspective’, Journal of Advertising Research, 47 (1), 38–50.

48. Beverland, M., Lim, E.A.C., Morrison, M., and Terziovski, M. (2006), ‘In-store music and consumer-brand relationships: relational transformation following experiences of (mis)fit’, Journal of Business Research, 59 (9), 982–989.

49. Zander, M.F. (2006), ‘Musical influences in advertising: how music modifies first impressions of product endorsers and brands’, Psychology of Music, 34 (4), 465–480.

Глава 6. Музыка на досуге

1. North, A.C., Hargreaves, D.J., and Hargreaves, J.J. (2004), ‘Uses of music in everyday life’, Music Perception, 22 (1), 41–77.

2. Krause, A.E., North, A.C., and Hewitt, L.Y. (2013), ‘Music listening in everyday life: Devices and choice’. Psychology of Music, DOI: 10.1177/0305735613496860.

3. Besson, M., and Schö n, D. (2001), ‘Comparison between language and music’, Annals of the New York Academy of Sciences, 930, 232–258.

4. Camurri, A., et al. (2004), ‘Multimodal Analysis of Expressive Gesture in Music and Dance Performances’, Gesture-Based Communication in Human-Computer Interaction, 2915, 20–39. Marin, M.M., and Bhattacharya, J. (2010), ‘Music induced emotions: Some current issues and crossmodal comparisons’, in J. Hermida and M. Ferrero (eds.), Music Education (pp. 1–38). Hauppauge, NY: Nova Science Publishers.

5. Hagen, E.H., and Bryant, G.A. (2003), ‘Music and dance as a coalition signalling system’, Human Nature, 14 (1), 21–51.

6. Witek, M.A.G. (2009), ‘Groove Experience: Emotional and Physiological Responses to Groove-Based Music’, Proceedings of the 7th Triennial Conference of the European Society for the Cognitive Sciences of Music, ESCOM, University of Jyvä skylä. Senn, O., and Kilchenmann, L. (2011), ‘The secret ingredient — State of affairs and future directions in groove studies’, in Antonio Baldassarre (ed.), Musik, Raum, Akkord, Bild — Festschrift for Dorothea Baumann’s 65th Birthday, Bern: pp. 799–810.

7. Winkler, I., et al. (2009), ‘Newborn infants detect the beat in music’, Proceedings of the National Academy of Sciences, 106, 2468–2471.

8. Honing, H., et al. (2012). ‘Rhesus monkeys (Macaca mulatta) detect rhythmic groups in music, but not the beat’, PLOS ONE, 7 (12), e51369.

9. Patel, A.D., Iversen, J.R., Bregman, M.R., and Schulz, I. (2009), ‘Experimental evidence for synchronization to a musical beat in a nonhuman animal’, Current Biology, 19, 827–830.

10. Fitch, W.T. (2013), ‘Rhythmic cognition in humans and animals: distinguishing meter and pulse perception’, Frontiers in Systems Neuroscience, 31, 7: 68.

11. Schachner, A., Brady, T.F., Pepperberg, I.M., and Hauser, M.D. (2009), ‘Spontaneous motor entrainment to music in multiple vocal mimicking species’, Current Biology, 19 (10), 831–836.

12. Hattori, Y., Tomonaga, M., and Matsuzawa, T. (2013), ‘Spontaneous synchronized tapping to an auditory rhythm in a chimpanzee’, Scientific Reports 3, 1566. Cook, P., Rouse, A., Wilson, M., and Reichmuth, C. (2013), ‘A California Sea Lion (Zalophus californianus) Can Keep the Beat: Motor Entrainment to Rhythmic Auditory Stimuli in a Non Vocal Mimic’, Journal of Comparative Psychology..

13. Luck, G., Saarikallio, S., Thompson, M., Burger, B., and Toiviainen, P. (2012), ‘Hips don’t lie: Multi-dimensional ratings of opposite-sex dancers’ perceived attractiveness’, in E. Cambouropoulos, C. Tsougras, P. Mavromatis and K. Pastiadis (eds.), Proceedings of 12th International Conference on Music Perception and Cognition (Thessaloniki, Greece).

14. Zillmann, D., and Bhatia, A. (1989), ‘Effects of associating with musical genres on heterosexual attraction’, Communication Research, 16 (2), 263–288.

15. Gué guen, N., Jacob, C., and Lamy, L. (2010), ‘“Love is in the air”: Effects of songs with romantic lyrics on compliance with a courtship request’, Psychology of Music, 38 (3), 303–307.

16. Gué guen, N., Meineri, S., and Fischer-Lokou, J. (2013), ‘Men’s music ability and attractiveness to women in a real-life courtship context’, Psychology of Music, published online 1 May 2013.

17. North, A.C., Tarrant, M., and Hargreaves, D.J. (2004), ‘The effects of music on helping behaviour: a field study’, Environment and Behaviour, 36 (2), 266–275.

18. Lamy, L., Fischer-Lokou, J., and Gué guen, N. (2009), ‘Induced reminiscence of love and chivalrous helping’, Current Psychology, 28 (3), 202–209.

19. LeDoux, J.E. (2000), ‘Emotion circuits in the brain’, Annual Review of Neuroscience, 23, 155–184.

20. Koelsch, S., et al. (2006), ‘Investigating emotion with music: an fMRI study’, Human Brain Mapping, 27 (3), 239–250. Blood, A.J., and Zatorre, R.J. (2001), ‘Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion’, Proceedings of the National Academy of Sciences, 98 (2), 11818–11823.

21. Griffiths, T.D., Warren, J.D., Dean, J.L., and Howard, D. (2004), ‘“When the feeling’s gone”: a selective loss of musical emotion’, Journal of Neurology, Neurosurgery & Psychiatry, 75, 344–345.

22. Gosselin, N., et al. (2005), ‘Impaired recognition of scary music following unilateral temporal lobe excision’, Brain, 128 (3), 628–640.

23. Eldar, E., et al. (2007), ‘Feeling the real world: limbic response to music depends on related content’, Cerebral Cortex, 17 (12), 2828–2840.

24. Boltz, M.G. (2001), ‘Musical soundtracks as a schematic influence on the cognitive processing of filmed events’, Music Perception, 18: 427–454.

25. Phan, K.L., Wager, T.D., Taylor, S.F., and Liberzon, I. (2002), ‘Functional neuroanatomy of emotion: a meta-analysis of emotion activation studies in PET and fMRI’, Neuroimage, 16 (2), 331–348.

26. Cohen, A.J. (2001), ‘Music as a source of emotion in film’, in Juslin, P.N., Sloboda, J.A. (eds.), Music and emotion. New York: Oxford University Press, pp. 249–272.

27. Austin, A., Moore, E., Chordia, P., and Gupta, U. (2010), ‘Characterization of Movie Genre Based on Music Score’, in Proceedings of the 35th IEEE Conference of Acoustics, Speech, and Signal Processing, 421–424.

28. Baumgartner, T., Lutz, K., Schmidt, C.F., and Jä ncke, L. (2006), ‘The emotional power of music: how music enhances the feeling of affective pictures’, Brain Research, 23, 1075 (1), 151–164.

29. Huron, D. (2011), ‘Why is sad music pleasurable? A possible role for prolactin’, Musicae Scientiae, 15 (2), 146–158.

30. Koelsch, S. (2012), Brain and music. Wiley.

31. http: //filmsound.org/gustavo/leitmotif-revisted.htm.

32. Hargreaves, D.J., and North, A.C. (2008), The Social and Applied Psychology of Music. Oxford: Oxford University Press.

33. The British Association of Sport and Exercise Sciences statement on the use of music in exercise: http: //www.bases.org.uk/write/Documents/SES_EXPERT_3.pdf.

34. Crust, L., and Clough, P.J. (2006), ‘The influence of rhythm and personality in the endurance response to motivational asynchronous music’, Journal of Sports Sciences, 24 (2), 187–195.

35. Karageorghis, C.I., Terry, P.C., and Lane, A.M. (1999), ‘Development and initial validation of an instrument to assess the motivational qualities of music in exercise and sport: The Brunei Music Rating Inventory’, Journal of Sports Sciences, 17 (9), 713–724.

36. Karageorghis, C.I., and Priest, D.L. (2012), ‘Music in the exercise domain: A review and synthesis (Part I)’, International Review of Sport and Exercise Psychology, 5 (1): 44–66.

37. Hall, K.G., and Erickson, B. H. (1995), ‘The effects of preparatory arousal on sixty-meter dash performance’, The Applied Research in Coaching and Athletics Annual, 10, 70–79.

38. Priest, D.L., and Karageorghis, C.I. (2008), ‘A qualitative investigation into the characteristics and effects of music accompanying exercise’, European Physical Education Review, 14 (3), 347–366.

39. Karageorghis, C.I., et al. (2009), ‘Psychophysical and ergogenic effects of synchronous music during treadmill walking’, Journal of Sport & Exercise Psychology, 31 (1), 18–36.

40. Karageorghis, C.I., and Priest, D.L. (2012), ‘Music in the exercise domain: a review and synthesis (Part I)’, International Review of Sport and Exercise Psychology, 5 (1), 44–66.

41. van der Vlist, B., Bartneck, C., and Mä ueler, S. (2011), ‘moBeat: Using interactive music to guide and motivate users during aerobic exercising’, Applied Psychophysiology and Biofeedback, 36 (2), 135–145.

42. Karageorghis, C.I., and Priest, D.L. (2012), ‘Music in the exercise domain: A review and synthesis (Part II)’, International Review of Sport and Exercise Psychology, 5 (1), 67–84.

43. Dyrlund, A.K., and Wininger, S.R. (2008), ‘The effects of music preference and exercise intensity on psychological variables’, Journal of Music Therapy, 45 (2), 114–134.

44. Karageorghis, C.I., and Priest, D.L. (2012), ‘Music in the exercise domain: a review and synthesis (Part I)’, International Review of Sport and Exercise Psychology, 5 (1), 44–66.

45. The British Association of Sport and Exercise Sciences statement on the use of music in exercise: http: //www.bases.org.uk/write/Documents/SES_EXPERT_3.pdf.

46. Karageorghis, C., Jones, L., and Stuart, D.P. (2008), ‘Psychological effects of music tempi during exercise’, International Journal of Sports Medicine, 29 (7), 613–619.

47. Crust, L., and Clough, P.J. (2006), ‘The influence of rhythm and personality in the endurance response to motivational asynchronous music’, Journal of Sports Sciences, 24 (2), 187–195.

48. Karageorghis, C.I., et al. (2011), ‘Ergogenic and psychological effects of synchronous music during circuit-type exercise’, Psychology of Sport and Exercise, 11 (6), 551–559.

49. http: //www.theguardian.com/lifeandstyle/the-running-blog/2013/may/10/haile-gebrselassie-interview.

50. http: //www.theaustralian.com.au/arts/music/music-the-fuel-for-performance-overdrive-by-olympic-athletes/story-fn9d2mxu-1226424849410.

51. Gluch, P.D. (1993), ‘The use of music in preparing for sport performance’, Contemporary Thought, 2, 33–53.

52. Jarraya, M., et al. (2012), ‘The effects of music on high-intensity short-term exercise in well trained athletes’, Asian Journal of Sports Medicine, 3 (4), 233–238.

53. http: //www.guardian.co.uk/football/2013/feb/03/can-music-help-footballers-play-better? CMP=twt_fd.

54. Brownley, K.A., McMurray, R.G., and Hackney, A.C. (1995), ‘Effects of music on physiological and affective response to graded treadmill exercise in trained and untrained runners’, International Journal of Psychophysiology, 19 (3), 193–201. Mohammadzadeh, H., Tartibiyan, B., and Ahmadi, A. (2008), ‘The effects of music on the perceived exertion rate and performance of trained and untrained individuals during progressive exercise’, Facta Universitatis: Series Physical Education & Sport, 6, 67–74.

55. Terry, P.C., Karageorghis, C.I., Saha, A.M., and D’Auria, S. (2012), ‘Effects of synchronous music on treadmill running among elite triathletes’, Journal of Science and Medicine in Sport, 15 (1), 52–57.

56. Bishop, D.T., Karageorghis, C.I., and Loizou, G. (2007), ‘A grounded theory of young tennis players’ use of music to manipulate emotional state’, Journal of Sport and Exercise Psychology, 29 (5), 584–607.

57. Bishop, D. (2010), ‘“Boom Boom How”: Optimising performance with music’, Sport and Exercise Psychology Review, 6, 35–47.

Часть III. Музыка, проходящая сквозь жизнь

Глава 7. Музыка и память

1. Kang, H.J., and Williamson, V.J. (2013), ‘Background music can facilitate second language learning’, Psychology of Music. DOI: 10.1177/0305735613485152.

2. Baddeley, A.D., Eysenck, M., and Anderson, M.C. (2009), Memory. Hove: Psychology Press. Baddeley, A.D. (2007), Working memory, thought and action. Oxford: Oxford University Press.

3. http: //www.world-memory-statistics.com/disciplines.php.

4. http: //www.worldmemorychampionships.com/memory-achievements/.

5. Hughes, E. (1915), ‘Musical memory in piano playing and piano study’, The Musical Quarterly, 1, 592–603.

6. Hallam, S. (1997), ‘The development of memorisation strategies in musicians: Implications for education’, British Journal of Music Education, 14 (1), 87–97.

7. Ginsborg, J. (2002), ‘Classical singers learning and memorising a new song: An observational study’, Psychology of Music, 30 (1), 58–101.

8. Chaffin, R., Lisboa, T, Logan, T., and Begosh, K.T. (2010), ‘Preparing for Memorized Cello Performance: The Role of Performance Cues’, Psychology of Music, 38, 3–30.

9. Noice, H., Chaffin, R., Jeffrey, J., and Noice, A. (2008), ‘Memorization by a jazz pianist: A case study’, Psychology of Music, 36 (1), 63–79.

10. Williamon, A., Valentine, E., and Valentine, J. (2002), ‘Shifting the focus of attention between levels of musical structure’, European Journal of Cognitive Psychology, 14 (4), 493–520. Williamon, A. (2002), ‘Memorising music’, in J. Rink (ed.), Musical Performance: A Guide to Understanding (pp. 113–126). Cambridge: Cambridge University Press. Chaffin, R., and Imreh, G. (2002), ‘Practicing perfection: Piano performance as expert memory’, Psychological Science, 13, 342–349.

11. Chaffin, R., and Imreh, G. (1997), ‘“Pulling teeth and torture”: Musical memory and problem solving’, Thinking & Reasoning, 3 (4), 315–336. Chaffin, R., and Imreh, G. (2002), ‘Practicing perfection: Piano performance as expert memory’. Psychological Science, 13, 342–349.

12. Williamon, A., and Valentine, E. (2002), ‘The role of retrieval structures in memorizing music’, Cognitive Psychology, 44 (1), 1–32. Williamon, A. and Egner, T. (2004), ‘Memory structures for encoding and retrieving a piece of music: An ERP investigation’, Cognitive Brain Research, 22 (1), 36–44.

13. Halpern, A.R, and Mü llensiefen, D. (2008), ‘Effects of timbre and tempo change on memory for music’, Quarterly Journal of Experimental Psychology, 61 (9), 1371–1384.

14. Standing, L. (1973), ‘Learning 10, 000 pictures’, Quarterly Journal of Experimental Psychology, 25 (2), 207–222.

15. Levitin, D.J. (1994), ‘Absolute memory for musical pitch: Evidence from the production of learned melodies’, Perception & Psychophysics, 56 (4), 414–423.

16. Frieler, K., et al. (2013), ‘Absolute Memory for Pitch: A Comparative Replication of Levitin’s 1994 Study in Six European Labs’, Musicae Scientiae, Special issue: Replication in music psychology, 7 (3), 334–349.

17. Dowling, W.J., and Bartlett, J.C. (1981), ‘The importance of interval information in long-term memory for melodies’, Psychomusicology, 1 (1), 30–49. Dowling, W.J., Kwak, S., and Andrews, M.W. (1995), ‘The time course of recognition of novel melodies’, Perception & Psychophysics, 57 (2), 197–210.

18. Stalinski, S.M., and Schellenberg, E.G. (2013), ‘Listeners Remember Music They Like’, Journal of Experimental Psychology: Learning, Memory, and Cognition, 39 (3), 700–716.

19. Weiss, M.W, Trehub, S.E., and Schellenberg, E.G. (2012), ‘Something in the Way She Sings: Enhanced Memory for Vocal Melodies’, Psychological Science, 23 (10), 1074–1078.

20. Krumhansl, C. (2010), ‘Plink! Thin slices of music’, Music Perception, 27 (5), 337–354.

21. Rubin, D.C. (1995), Memory in oral traditions: The cognitive psychology of epic, ballads, and counting-out rhymes. New York: Oxford University Press.

22. Dowling, W.J., Bartlett, J.C., Halpern, A.R., and Andrews, M.W. (2008), ‘Melody Recognition at Fast and Slow Tempos: Effects of Age, Experience, and Familiarity’, Perception and Psychophysics, 70 (3), 496–502.

23. Schulkind, M.D., Hennis, L.K., and Rubin, D.C. (1999), ‘Music, emotion, and autobiographical memory: They’re playing your song’, Memory & Cognition, 27 (6), 948–955.

24. Finke, C., Esfahani, N.E., and Ploner, C.J. (2012), ‘Preservation of musical memory in an amnesic professional cellist’, Current Biology, 22 (15), R591–2.

25. Samson, S., Dellacherie, D., and Platel, H. (2009), ‘Emotional power of music in patients with memory disorders: clinical implications of cognitive neuroscience’, The Neurosciences and Music III: disorders and plasticity (Annals of the New York Academy of Sciences), 1169, 245–255: Baird, A., and Samson, S. (2009), ‘Memory for music in Alzheimer’s disease: Unforgettable? ’, Neuropsychological Review, 19 (1), 85–101.

26. Schulkind, M.D. (2009), ‘Is memory for music special? ’, Annals of the New York Academy of Science, 1169, 216–24.

27. Schacter, D.L. (1987), ‘Implicit Memory: History and Current Status’, Journal of Experimental Psychology: Learning, Memory, and Cognition, 13 (3), 501–518. Hassin, R.R. (2013), ‘Yes It Can: On the Functional Abilities of the Human Unconscious’, Perspectives on Psychological Science, 8 (2), 195–207.

28. De Gelder, B., De Haan, E.H.F., and Heywood, C.A. (2001), Out of mind: Varieties of unconscious processes. London: Oxford University Press. Cavaco, S., et al. (2004), ‘The scope of preserved procedural memory in amnesia’, Brain, 127 (8): 1853–1867.

29. Liikkanen L. (2012), ‘Musical Activities Predispose to Involuntary Musical Imagery’, Psychology of Music, 40 (2), 236–256.

30. Brown, S. (2006), ‘The perceptual music track: The phenomenon of constant musical imagery’, Journal of Consciousness studies, 13 (6), 25–44.

31. Sacks, O. (2007), Musicophilia: Tales of music and the brain. New York: Alfred A. Knopf.

32. Kellaris, J.J. (2008), ‘Music and consumers’, in C.P. Haugtvedt, P. Herr and F.R. Kardes (eds.), Handbook of consumer psychology (pp. 837–856). New York: Taylor & Francis.

33. Levitin, D.J. (2006), This is your brain on music. New York: Dutton.

34. Halpern, A.R., and Bartlett, J.C. (2011), ‘The persistence of musical memories: A descriptive study of earworms’, Music Perception, 28 (4), 425–443. Beaman, C.P., and Williams, T.I. (2010), ‘Earworms (stuck song syndrome): Towards a natural history of intrusive thoughts’, British Journal of Psychology, 101 (4), 637–653.

35. Williamson, V.J., and Jilka, S.R. (2013), ‘Experiencing earworms: An interview study of Involuntary Musical Imagery’, Psychology of Music, DOI: 10.1177/0305735613483848.

36. Mü llensiefen, D., et al., ‘Individual differences in spontaneous involuntary musical imagery’, Music Perception (in press 2013).

37. Wammes, M., and Baruš s, I. (2009), ‘Characteristics of spontaneous musical imagery’, Journal of Consciousness Studies, 16 (1), 37–61.

38. Floridou, G., Williamson, V.J., and Mü llensiefen, D. (2012), ‘Contracting earworms: The roles of personality and musicality’, in E. Cambouropoulos, C. Tsougras, K. Mavromatis, K. Pastiadis (eds.), Proceedings of ICMPC-ESCOM 12 (Thessaloniki, Greece), 302–310.

39. Williamson, V.J., and Mü llensiefen, D. (2012), ‘Earworms from three angles’, in E. Cambouropoulos, C. Tsougras, K. Mavromatis, K. Pastiadis (eds.), Proceedings of ICMPC-ESCOM 12 (Thessaloniki, Greece), 1124–1133.

40. Williamson, V.J., et al. (2012), ‘How do earworms start? Classifying the everyday circumstances of Involuntary Musical Imagery’, Psychology of Music, 40 (3), 259–284.

41. Kvavilashvili, L., and Mandler, G. (2004), ‘Out of one’s mind: A study of involuntary semantic memories’, Cognitive Psychology, 48 (1), 47–94. Berntsen, D. (2009), Involuntary Autobiographical Memories: An Introduction to the Unbidden Past. Cambridge: Cambridge University Press.

42. Schlagman, S., and Kvavilashvili, L. (2008), ‘Involuntary autobiographical memories in and outside the laboratory: How different are they from voluntary autobiographical memories? ’, Memory and Cognition, 36 (5), 920–932.

Глава 8. Музыка и благополучие

1. Sloboda, J. (2005), Exploring the musical mind: Cognition, Emotion, Ability, Function. Oxford: Oxford University Press.

2. Saarikallio, S. (2012), ‘Cross cultural approaches to music and health’, in R.A.R Macdonald, G. Kreutz and L. Mitchell (eds.) Music, Health and Wellbeing (pp. 477–490). Oxford: Oxford University Press.

3. http: //staff.bath.ac.uk/ecsscw/But_what_is_Wellbeing.pdf.

4. Macdonald, R.A.R, Kreutz, G., and Mitchell, L. (eds.) (2012), Music, Health and Wellbeing. Oxford, Oxford University Press.

5. Bruscia, K.E. (1998), Defining Music Therapy (2nd edn). Gilsum: Barcelona Publishers.

6. Gold et al. (2011), ‘Music therapy or music medicine? ’, Psychotherapy and Psychosomatics, 80, 304.

7. Lane, D. (2011), ‘Music as Medicine, Music and the Brain’ (podcast), available at: http: //www.loc.gov/podcasts/musicandthebrain/podcast_lane.html.

8. Cepeda, M.S., Carr, D.B., Lau, J., and Alvarez, H. (2006), ‘Music for pain relief, Cochrane Database of Systematic Reviews, Issue 2. Art. No.: CD004843. DOI: 10.1002/14651858.CD004843.pub2.

9. Ayoub, C.M., et al. (2005), ‘Music and ambient operating room noise in patients undergoing spinal anesthesia’, Anesthesia & Analgesia, 100 (5), 1316–1319.

10. Salimpoor, V.N., et al. (2011), ‘Anatomically distinct dopamine release during anticipation and experience of peak emotion to music’, Nature Neuroscience, 14, 257–262.

11. Salimpoor, V.N., et al. (2013), ‘Interactions Between the Nucleus Accumbens and Auditory Cortices Predict Music Reward Value’, Science, 216–219.

12. McKinney, C.H., et al. (1997), ‘Effects of guided imagery and music (GIM) therapy on mood and cortisol in healthy adults’, Health Psychology, 16 (4), 390–400. Koelsch, S., et al. (2011), ‘Effects of Music Listening on Cortisol Levels and Propofol Consumption during Spinal Anesthesia’, Frontiers in Psychology, 2, 58.

13. Lane, D. (1991), ‘The effect of a single music therapy session on hospitalized children as measured by salivary immunoglobulin A, speech pause time, and a Patient Opinion Likert Scale’, PhD Thesis available at http: //rave.ohiolink.edu/etdc/view? acc_num=caselO55429377.

14. Doheny, L., et al. (2012), ‘Exposure to biological maternal sounds improves cardiorespiratory regulation in extremely preterm infants’, The Journal of Maternal-Fetal and Neonatal Medicine, 25 (9), 1591–1594.

15. Loewy, J., et al. (2013), ‘The Effects of Music Therapy on Vital Signs, Feeding, and Sleep in Premature Infants’, Pediatrics, 131 (5), 902–918.

16. Tramo, M., et al. (2011), ‘Effects of music on physiological and behavioral indices of acute pain and stress in premature infants: Clinical trial and literature review’, Music and Medicine, 3 (2), 72–83.

17. McMahon, E., Wintermark, P., and Lahav, A. (2012), ‘Auditory brain development in premature infants: the importance of early experience’, Annals of the New York Academy of Sciences, 1252, 17–24.

18. Neal, D.O., and Lindeke, L.L. (2008), ‘Music as a nursing intervention for preterm infants in the NICU’, Neonatal Network, 27 (5), 319–327.

19. Standley, J.M. (2002), ‘A meta-analysis of the efficacy of music therapy for premature infants’, Journal of Pediatric Nursing, 17 (2), 107–113.

20. Standley, J.M. (2003), ‘The effect of music-reinforced nonnutritive sucking on feeding rate of premature infants’, Journal of Pediatric Nursing, 18 (3), 169–173. Standley, J.M. (2000), ‘The effect of contingent music to increase non-nutritive sucking of premature infants’, Pediatric Nursing, 26 (5), 493–499.

21. Yildiz, A., and Arikan, D. (2012), ‘The effects of giving pacifiers to premature infants and making them listen to lullabies on their transition period for total oral feeding and sucking success’, Journal of Clinical Nursing, 21 (5–6), 644–656.

22. Allen, R., and Heaton, P.F. (2010), ‘Autism, music, and the therapeutic potential of music in alexithymia’, Music Perception, 27 (4), 251–261. Heaton, P.F. (2009), ‘Assessing musical skills in autistic children who are not savants’, Philosophical Transactions of the Royal Society B: Biological Sciences, 364 (1522), 1443–1447.

23. Hess, K.L, Morrier, M.J., Heflin, L.J., and Ivey, M.L. (2008), ‘Autism treatment survey: services received by children with autism spectrum disorders in public school classrooms’, Journal of Autism and Developmental Disorders, 38 (5), 961–971.

24. Kim, J., Wigram, T, and Gold, C. (2008), ‘The effects of improvisational music therapy on joint attention behaviors in autistic children: a randomized controlled study’, Journal of Autism and Developmental Disorders, 38 (9), 1758–1766.

25. Lim, H.A. (2010), ‘Effect of “developmental speech and language training through music” on speech production in children with autism spectrum disorders’, Journal of Music Therapy, 47 (1), 2–26.

26. Wan, C.Y., et al. (2011), ‘Auditory-Motor Mapping Training as an Intervention to Facilitate Speech Output in Non-Verbal Children with Autism: A Proof of Concept Study’, PLOS ONE, 6 (9), e25505.

27. Phillips-Silver, J. (2009), ‘On the meaning of movement in music, development and the brain’, Contemporary Music Review, 28 (3), 293–314.

28. Srinivasan, S.M., and Bhat, A.N. (2013), ‘A review of “music and movement” therapies for children with autism: embodied interventions for multisystem development’, Frontiers in Integrative Neuroscience, 7, 22.

29. Jackson, N.A. (2003), ‘A survey of music therapy methods and their role in the treatment of early elementary school children with ADHD’, Journal of Music Therapy, 40 (4), 302–323.

30. Pelham, W.E. Jr, et al. (2011), ‘Music and Video as Distractors for Boys with ADHD in the Classroom: Comparison with Controls, Individual Differences, and Medication Effect’, Journal of Abnormal Child Psychology, 39 (8), 1085–1098.

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Примечания редакции

[1] Сверхпроводящий квантовый интерференционный датчик. Прим. перев.

[2] Ударный инструмент из двух горизонтальных тарелок на стойке с педалью; при нажатии педали верхняя тарелка ударяет о нижнюю. Прим. перев.

[3] Смещение акцента с сильной доли такта на слабую. Прим. ред.

[4] Patrik Juslin and John Sloboda, Handbook of Music and Emotion: Theory, Research, Applications. Прим. перев.

[5] Рефлексы ствола мозга, выработка условного рефлекса, эмоциональное заражение, ожидания, память и зрительные образы. Прим. авт.

[6] Миелиновая оболочка — защитный слой, покрывающий нейрон снаружи. Она необходима для нормальной работы нервной системы. Прим. авт.

[7] Транслиминальность — состояние трансформации личности, преодоление порога аккультурации. Прим. ред.

[8] Этот временной показатель сочетает годы жизни, утраченные из-за преждевременной смертности и в связи с состоянием здоровья, не отвечающего критериям полного здоровья. Прим. перев.

Оглавление

Введение

Часть I. Музыка в начале жизни

Глава 1. Первые шаги

Глава 2. Музыка в детстве

Глава 3. Музыка в юности

Часть II. Музыка в жизни взрослых

Глава 4. Музыкальные взрослые

Глава 5. Музыка на работе

Глава 6. Музыка на досуге

Часть III. Музыка, проходящая сквозь жизнь

Глава 7. Музыка и память

Глава 8. Музыка и благополучие

Благодарности

Примечания

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