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The World in Six Songs: How the Musical Brain Created Human Nature is a popular science book written by the McGill University neuroscientist Daniel J. Levitin, first published by Dutton Penguin in the U.S. and Canada in 2008. It was updated and released in paperback by Plume in 2009 and translated into six languages.
An Alien Heat, The Hollow Lands, and The End Of All Songs - Part 1: Spirits Burning & Michael Moorcock: The Dancers at the End of Time: Michael Moorcock: Three albums covering the three books of the trilogy. The Black Halo: Kamelot: Faust: Johann Wolfgang von Goethe: The Black Halo is a concept album based on Faust, Part Two.
The Philosophy of Modern Song is a book by American singer-songwriter Bob Dylan, published on November 1, 2022, by Simon & Schuster. The book contains Dylan's commentary on 66 songs by other artists. [1] [2] It is the first book Dylan has published since he was awarded the Nobel Prize in Literature. [3]
The psychology of music, or music psychology, is a branch of psychology, cognitive science, neuroscience, and/or musicology. It aims to explain and understand musical behaviour and experience , including the processes through which music is perceived, created, responded to, and incorporated into everyday life.
In Oliver Sack's book, Musicophilia he discusses several different ways that music can help people with dementia. Specifically, the perception of music, and the memories that are involved with music enable patients to make improvements in their cognitive powers, emotions, thoughts, feelings of freedom, stability, organization, and focus.
She is a soloist with San Francisco chamber groups and is the co-founder and director of Vocallective, an organization of musicians that promotes the art of vocal chamber music. [15] Indre Viskontas is also a co-founder of Opera on Tap, "a non-profit organization whose mission is to make opera as ubiquitous and accessible as pop music". [16] [17]
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The Levitin effect is a phenomenon whereby people, even those without musical training, tend to remember songs in the correct key.The finding stands in contrast to the large body of laboratory literature suggesting that such details of perceptual experience are lost during the process of memory encoding, so that people would remember melodies with relative pitch, rather than absolute pitch.