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100   $a20060307d2006      ub             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aPsychology for musicians$b[electronic resource] $eunderstanding and acquiring the skills /$fAndreas C. Lehmann, John A. Sloboda, Robert H. Woody
210   $aNew York $cOxford University Press$d2006
215   $a1 online resource (279 p.)
300   $aDescription based upon print version of record.
311   $a0-19-514610-7 
311   $a0-19-985116-6 
320   $aIncludes bibliographical references.
327   $aContents; Part I: Musical Learning; 1 Science and Musical Skills; 2 Development; 3 Motivation; 4 Practice; Part II: Musical Skills; 5 Expression and Interpretation; 6 Reading or Listening and Remembering; 7 Composition and Improvisation; 8 Managing Performance Anxiety; Part III: Musical Roles; 9 The Performer; 10 The Teacher; 11 The Listener; 12 The User; References; Index; A; B; C; D; E; F; G; H; I; L; M; N; P; R; S; T; U
330   $aWhat is it that accounts for the differences between musical beginners, advanced music makers, and world class performers? Virtually everyone likes music and has the capacity to be musical in some way (despite what some may say about themselves). Yet far fewer people come to be so involved with it that they identify themselves as musicians, and fewer still become musicians of international class.   Psychology for Musicians provides the basis for answering this question. Examining the processes that underlie the acquisition of musical skills, Lehmann, Sloboda, and Woody provide a concise, acces
606   $aMusicians$xPsychology
606   $aMusic$xPsychological aspects
608   $aElectronic books.
615  0$aMusicians$xPsychology.
615  0$aMusic$xPsychological aspects.
676   $a781/.11
700   $aLehmann$b Andreas C.$f1964-$0925339
701   $aSloboda$b John A$0223866
701   $aWoody$b Robert H$091642
712 02$aOxford Scholarship OnLine
801  0$bMiAaPQ
801  1$bMiAaPQ
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906   $aBOOK
912   $a9910465832803321
996   $aPsychology for musicians$92077612
997   $aUNINA