- The Oxford Handbook of Music Psychology
- The nature of music and its evolution
- Universale in music processing
- Music and meaning
- The social and personal functions of music in cross-cultural perspective
- The perception of pitch
- Tonal Cognition
- The perception of musical timbre
- Musical time
- Components of melodic processing
- Memory for music
- Bodily responses to music
- Emotional Responses to Music
- The relationship between musical structure and perceived expression
- Musical preferences
- The neurobiological basis of musical expectations
- Disorders of Musical Cognition
- Music, musicians, and brain plasticity
- Music and the brain: Three links to language
- Prenatal development and the phylogeny and ontogeny of music
- Music lessons from infants
- Music in the school years
- The impact of music instruction on other skills
- Musical potential
- Individuality in the learning of musical skills
- Motivation to learn
- The role of the family in supporting learning
- The role of the institution and teachers in supporting learning
- Measurement and models of performance
- Planning and performance
- Performing from memory
- Movement and collaboration in musical performance
- Emotion in music performance
- Optimizing physical and psychological health in performing musicians
- Making a mark The psychology of composition
- Musical improvisation
- Children as creative thinkers in music: Focus on composition
- Choosing to hear music
- Music in performance arts: Film, theatre and dance
- Peak experiences in music
- Musical identities
- The effects of music in community and educational settings
- Music and consumer behaviour
- Processes of music therapy: Clinical and scientific rationales and models
- Clinical practice in music therapy
- Research and evaluation in music therapy
- Music therapy in medical and neurological rehabilitation settings
- Beyond music psychology
- History and research
- Where now?
Abstract and Keywords
Musical-peak experiences are a significant component of the lives of many people. They are powerful, valued, have lasting effects, and – for some – are a reason for continued engagement with music. This article highlights research on the peak experience, emphasizing literature focusing on music-specific peaks. After outlining four studies fundamental to the study of peaks in music, a section discusses precursors to peaks and proposed differences between those who have achieved peaks and those who have not. A section on the cognitive, perceptual, emotional, and physical phenomena associated with peak experiences is thenfollowed by an investigation on the after-effects of peaks. Next, a section discussing methodologies for the investigation of musical-peak experiences highlights the possibilities and difficulties of this work. Finally, a brief section summarizes the contents of the article and looks towards the future of research in this field.
John Whaley, N Stillwater, MN.
Professor John Sloboda, School of Psychology, Keele University.
Professor Alf Gabrielsson, Department of Psychology, Uppsala University.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.