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.
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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
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