William Forde Thompson, PhD, is a Professor in Psychology at Bond University, Australia, and an Emeritus Professor at Macquarie University, Australia. Kirk N. Olsen, PhD, is a Research Centre Manager at the Australian Institute of Health Innovation, Macquarie University, Australia. He is also the Research Manager of the Macquarie University hub of the Music, Sound and Performance Research Group.

• PrefaceAcknowledgmentsPart 1: Understanding MusicWhat Is Music?1. Defining Music2. Sound Waves: The Music inside Sound3. Pitch, Timbre, and Rhythm4. Scales, Intervals, and Tuning SystemsMusic across Cultures5. Defining Culture6. Cross-Cultural Research in Music Psychology7. Nature versus Nurture8. Musical UniversalsMusical Expertise9. What Is Musical Expertise?10. Musical Genius11. Genetics and Musical Expertise12. Competitions: Judging ExpertiseMusical Prodigies and Savants13. Becoming a Musical Prodigy: Hard Work or Born That Way?14. Prodigies in Performance15. Prodigies in Musical Creativity16. Musical SavantsMusic and the Brain17. Contemporary Approaches to the Neuroscience of Music18. Music and the Brain across the Life Span19. Tone Deafness20. Music and LanguagePart 2: Psychological and Social Implications of MusicMusic and Identity21. Defining Ourselves through Music22. Music and Cultural Identity23. Gender Bias in Music History24. Music and Social ClassMusic and Personality25. Personality and Listeners26. Personality and Musicians27. Who Likes Sad Music and Why?28. Violence and MusicMusic and Ritual29. Maternal Songs as Bonding Rituals30. Music and Ecstatic States31. Music and Rites of Passage32. Music and DeathMusic and Belief33. Religion and Music34. Music and Lyrics35. Music and Advertising36. Music and Healing RitualsMusic and Social Bonding37. Lullabies38. Love and Music39. Intercultural Relations through Music40. Music as Social GroomingPart 3: Impact and Applications of MusicMusic and Emotion41. Why Is Music Emotional? Theories of Music and Emotion42. Contemporary Research on Music and Emotion43. Music as Emotion Management44. Music and Emotion across CulturesMusic and Memory45. What Is Memory for Music?46. Music and Studying47. Earworms48. Music-Evoked Autobiographical Memories (MEAMs)Music and Movement49. Movement and Music Performance50. The Case of Ensemble Performance51. Music and Dance52. Why Do People Exercise to Music?Music and Health53. Defining Music, Health, and Well-Being54. Five Healthy Ingredients of Music55. Music Therapy56. Music and Healthy AgingMusic Education57. Music in Schools58. Music Learning across the Life Span59. Music in the Community60. Media and Technology in Music EducationAbout the Editors and ContributorsIndex

William Forde Thompson, PhD, is a Professor in Psychology at Bond University, Australia, and an Emeritus Professor at Macquarie University, Australia. Kirk N. Olsen, PhD, is a Research Centre Manager at the Australian Institute of Health Innovation, Macquarie University, Australia. He is also the Research Manager of the Macquarie University hub of the Music, Sound and Performance Research Group.

• PrefaceAcknowledgmentsPart 1: Understanding MusicWhat Is Music?1. Defining Music2. Sound Waves: The Music inside Sound3. Pitch, Timbre, and Rhythm4. Scales, Intervals, and Tuning SystemsMusic across Cultures5. Defining Culture6. Cross-Cultural Research in Music Psychology7. Nature versus Nurture8. Musical UniversalsMusical Expertise9. What Is Musical Expertise?10. Musical Genius11. Genetics and Musical Expertise12. Competitions: Judging ExpertiseMusical Prodigies and Savants13. Becoming a Musical Prodigy: Hard Work or Born That Way?14. Prodigies in Performance15. Prodigies in Musical Creativity16. Musical SavantsMusic and the Brain17. Contemporary Approaches to the Neuroscience of Music18. Music and the Brain across the Life Span19. Tone Deafness20. Music and LanguagePart 2: Psychological and Social Implications of MusicMusic and Identity21. Defining Ourselves through Music22. Music and Cultural Identity23. Gender Bias in Music History24. Music and Social ClassMusic and Personality25. Personality and Listeners26. Personality and Musicians27. Who Likes Sad Music and Why?28. Violence and MusicMusic and Ritual29. Maternal Songs as Bonding Rituals30. Music and Ecstatic States31. Music and Rites of Passage32. Music and DeathMusic and Belief33. Religion and Music34. Music and Lyrics35. Music and Advertising36. Music and Healing RitualsMusic and Social Bonding37. Lullabies38. Love and Music39. Intercultural Relations through Music40. Music as Social GroomingPart 3: Impact and Applications of MusicMusic and Emotion41. Why Is Music Emotional? Theories of Music and Emotion42. Contemporary Research on Music and Emotion43. Music as Emotion Management44. Music and Emotion across CulturesMusic and Memory45. What Is Memory for Music?46. Music and Studying47. Earworms48. Music-Evoked Autobiographical Memories (MEAMs)Music and Movement49. Movement and Music Performance50. The Case of Ensemble Performance51. Music and Dance52. Why Do People Exercise to Music?Music and Health53. Defining Music, Health, and Well-Being54. Five Healthy Ingredients of Music55. Music Therapy56. Music and Healthy AgingMusic Education57. Music in Schools58. Music Learning across the Life Span59. Music in the Community60. Media and Technology in Music EducationAbout the Editors and ContributorsIndex

William Forde Thompson, PhD, is a Professor in Psychology at Bond University, Australia, and an Emeritus Professor at Macquarie University, Australia. Kirk N. Olsen, PhD, is a Research Centre Manager at the Australian Institute of Health Innovation, Macquarie University, Australia. He is also the Research Manager of the Macquarie University hub of the Music, Sound and Performance Research Group.

• PrefaceAcknowledgmentsPart 1: Understanding MusicWhat Is Music?1. Defining Music2. Sound Waves: The Music inside Sound3. Pitch, Timbre, and Rhythm4. Scales, Intervals, and Tuning SystemsMusic across Cultures5. Defining Culture6. Cross-Cultural Research in Music Psychology7. Nature versus Nurture8. Musical UniversalsMusical Expertise9. What Is Musical Expertise?10. Musical Genius11. Genetics and Musical Expertise12. Competitions: Judging ExpertiseMusical Prodigies and Savants13. Becoming a Musical Prodigy: Hard Work or Born That Way?14. Prodigies in Performance15. Prodigies in Musical Creativity16. Musical SavantsMusic and the Brain17. Contemporary Approaches to the Neuroscience of Music18. Music and the Brain across the Life Span19. Tone Deafness20. Music and LanguagePart 2: Psychological and Social Implications of MusicMusic and Identity21. Defining Ourselves through Music22. Music and Cultural Identity23. Gender Bias in Music History24. Music and Social ClassMusic and Personality25. Personality and Listeners26. Personality and Musicians27. Who Likes Sad Music and Why?28. Violence and MusicMusic and Ritual29. Maternal Songs as Bonding Rituals30. Music and Ecstatic States31. Music and Rites of Passage32. Music and DeathMusic and Belief33. Religion and Music34. Music and Lyrics35. Music and Advertising36. Music and Healing RitualsMusic and Social Bonding37. Lullabies38. Love and Music39. Intercultural Relations through Music40. Music as Social GroomingPart 3: Impact and Applications of MusicMusic and Emotion41. Why Is Music Emotional? Theories of Music and Emotion42. Contemporary Research on Music and Emotion43. Music as Emotion Management44. Music and Emotion across CulturesMusic and Memory45. What Is Memory for Music?46. Music and Studying47. Earworms48. Music-Evoked Autobiographical Memories (MEAMs)Music and Movement49. Movement and Music Performance50. The Case of Ensemble Performance51. Music and Dance52. Why Do People Exercise to Music?Music and Health53. Defining Music, Health, and Well-Being54. Five Healthy Ingredients of Music55. Music Therapy56. Music and Healthy AgingMusic Education57. Music in Schools58. Music Learning across the Life Span59. Music in the Community60. Media and Technology in Music EducationAbout the Editors and ContributorsIndex