- Title Pages
- About the authors
- Chapter 1 Music, linguistics, and cognition
- Chapter 2 ‘What are the important questions?’ a reflection
- Chapter 3 Developing a young musician’s growth mindset: the role of motivation, self-theories, and resiliency
- Chapter 4 Negotiating music in the real world: development, motivation, process, and effect
- Chapter 5 Musical participation: expectations, experiences, and outcomes
- Chapter 6 How do strong experiences with music relate to experiences in everyday listening to music?
- Chapter 7 Music and emotion: seven questions, seven answers
- Chapter 8 Salience of melodic tones in short-term memory: dependence on phrasing, metre, duration, register, and tonal hierarchy
- Chapter 9 Sloboda and Parker’s recall paradigm for melodic memory: a new, computational perspective
- Chapter 10 Musical encounters of the temporary kind
- Chapter 11 Routes to adolescent musical expertise
- Chapter 12 The musical child prodigy (wunderkind) in music history: a historiometric analysis
- Chapter 13 Another exceptional musical memory: evidence from a savant of how atonal music is processed in cognition
- Chapter 14 Off the record: performance, history, and musical logic
- Chapter 15 Expressive variants in the opening of Robert Schumann’s <i>Arlequin</i> (from <i>Carnaval</i>, op. 9): 54 pianists’ interpretations of a metrical ambiguity
- Chapter 16 Quantifying the beat-inducing properties of conductors’ temporal gestures, and conductor–musician synchronization
- Chapter 17 Performance cues in singing: evidence from practice and recall
- Chapter 18 Emotions in motion: transforming conflict and music
- Chapter 19 The role of music in the integration of cultural minorities
John Sloboda in Conversation with Irène Deliège
- (p.413) Postlude
- Music and the Mind
- Irène Deliège, Jane Davidson
- Oxford University Press
This chapter presents an interview with John Sloboda, conducted in March 2009, where he offered some explanations about various questions relating to his training and output. He spoke about topics such as when he first began to learn music; specific musical memories from his childhood/adolescence; and when and why he decided to study psychology.
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