Taking a cognitive approach to musical meaning, Arnie Cox explores embodied experiences of hearing music as those that move us both consciously and unconsciously. In this pioneering study that draws on neuroscience and music theory, phenomenology and cognitive science, Cox advances his theory of the "mimetic hypothesis," the notion that a large part of our experience and understanding of music involves an embodied imitation in the listener of bodily motions and exertions that are involved ...

While most psychotherapies agree that therapeutic work in the 'here and now' has the greatest power to bring about change, few if any books have ever addressed the problem of what 'here and now' actually means.Beginning with the claim that we are psychologically alive only in the now, internationally acclaimed child psychiatrist Daniel N. Stern tackles vexing yet fascinating questions such as: what is the nature of 'nowness'? How is 'now' experienced between two people? What do pre...

In the first comprehensive study of the relationship between music and language from the standpoint of cognitive neuroscience, Aniruddh D. Patel challenges the widespread belief that music and language are processed independently. Since Plato's time, the relationship between music and language has attracted interest and debate from a wide range of thinkers. Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cog...

A User's Guide to Thought and Meaning presents a profound and arresting integration of the faculties of the mind - of how we think, speak, and see the world.Ray Jackendoff starts out by looking at languages and what the meanings of words and sentences actually do. He shows that meanings are more adaptive and complicated than they're commonly given credit for, and he is led to some basic questions: How do we perceive and act in the world? How do we talk about it? And how can the collection ...

Why do people attach importance to the wordless language we call music? Musical Cognition suggests that music is a game. In music, our cognitive functions such as perception, memory, attention, and expectation are challenged; yet, as listeners, we often do not realize that the listener plays an active role in reaching the awareness that makes music so exhilarating, soothing, and inspiring. In reality, the author contends, listening does not happen in the outer world of audible sound, but i...

What is it about the music you love that makes you want to hear it again? Why do we crave a "hook" that returns, again and again, within the same piece? And how does a song end up getting stuck in your head? Whether it's a motif repeated throughout a composition, a sample looped under an electronic dance beat, a passage replayed incessantly by a musician in a practice room-or an "earworm" burrowing through your mind like a broken record-repetition is nearly as integral to music as the note...

In this book Elizabeth Spillius and Edna O'Shaughnessy explore the development of the concept of projective identification, which had important antecedents in the work of Freud and others, but was given a specific name and definition by Melanie Klein. They describe Klein's published and unpublished views on the topic, and then consider the way the concept has been variously described, evolved, accepted, rejected and modified by analysts of different schools of thought and in various locati...

Introducing the fundamental issues in psycholinguistics, this book explores the amazing story of the unconscious processes that take place when humans use language. It is an ideal text for undergraduates taking a first course in the study of language.Topics covered include the biological foundations of language; acquisition of first and second languages in children and adults; the mental lexicon; and speech production, perception, and processingStructured as an enga...

This text is the eBook version of key concepts for Relational Gestalt Practice.

In Imagination from Fantasy to Delusion, Lois Oppenheim illustrates the enhancement of self that creativity affords, the relationship of imagination to the self as agent. The premise of this book is twofold: First, that the imaginary is real. Where it differs from what we commonly take to be reality is in structure and in form. The imaginary of art, for example, is not illusionary for it is phenomenologically describable and even depictable, as demonstrated by the self-reflexive e...

This book deals with the complex cognitive processes involved in understanding two "horizontal" aspects of music perception, melody and rhythm, both separately and together. Focusing on the tonal framework for pitch material in melodies, the first section provides evidence that mere exposure to music organized in a particular way is sufficient to induce the auditory system to prepare itself to receive further input conforming to the patterns already experienced. Its chapters also offer evi...

An original interdisciplinary study positioned at the intersection of literary theory and neuroscience."Literature matters," says Paul B. Armstrong, "for what it reveals about human experience, and the very different perspective of neuroscience on how the brain works is part of that story." In How Literature Plays with the Brain, Armstrong examines the parallels between certain features of literary experience and functions of the brain. His central argumen...