The Psychology of Music, Second Edition (Academic Press Series in Cognition and Perception)

The Psychology of Music, Second Edition (Academic Press Series in Cognition and Perception) Review

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The Psychology of Music, Second Edition (Academic Press Series in Cognition and Perception) Feature

The aim of the psychology of music is to understand musical phenomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since the First Edition of The Psychology of Music was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors. The opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but rather is available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the First Edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues.
The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables.

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America on Film: Representing Race, Class, Gender, and Sexuality at the Movies, Second Edition

America on Film: Representing Race, Class, Gender, and Sexuality at the Movies, Second Edition Review

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America on Film: Representing Race, Class, Gender, and Sexuality at the Movies, Second Edition Feature

America on Film: Representing Race, Class, Gender, and Sexuality in the Movies, 2nd Edition is a lively introduction to issues of diversity as represented within the American cinema.

• Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality
• Includes over 100 illustrations, glossary of key terms, questions for discussion, and lists for further reading/viewing
• Includes new case studies of a number of films, including Crash, Brokeback Mountain, and Quinceañera

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Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera (Musical Meaning and Interpretation)

Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera (Musical Meaning and Interpretation) Review

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Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera (Musical Meaning and Interpretation) Feature

The early 19th century was a period of acute transition in operatic tradition and style, when time-honored practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine -- and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi André skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles.

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