The Social and Applied Psychology of Music Review

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The Social and Applied Psychology of Music ReviewNorth and Hargreaves provide a masterful review of a vast body of research completed over the last 30 years in the field of Social Psychology and Music. As with the emerging field of music psychology in general, there is a need for books like this to begin to synthesize and make sense of the research that has been conducted, often by specialists in diverse fields who normally don't follow each others' work. The authors offer a compelling case for the unique contribution social psychology can make as a counter-balance to the laboratory research carried out in the cognitive and neuroscience fields. Here we have data from people interviewed in the context of their lived experience, examining how music functions within the lives of individuals and groups. I also appreciated their critique of the majority of psychological research to date, which has used classical music almost exclusively as if it were the ideal style of music to study. This bias is unwarranted, given the vast amount of music that is available and present in people's lives, and the diverse tastes that draw people to so many other styles besides the classical genre. Something else is clearly at work psychologically that leads people to so many other kinds of music besides classical. It's time for the research field to become curious about this fact. I found their protracted discussion of research on youth sub-culture and music to be a bit biased toward regarding rap and heavy metal as threats to social order and well-being. Their choice of term, to call these styles "problem music," is itself a problem, which minimizes the compelling forces that draw young people to this music and fairly disregards the benefits that fans find there. No doubt, research shows a clear correlation between this music and serious social problems such as violence, sexism, and self-harm, but their analysis is lacking in nuance to consider this music as a mirror of a troubled social milieu rather than its agent. Overall, there is no other book quite like this, which is so comprehensive and expertly written by two prominent figures in the field. It will be of interest to students and researchers in the fields of music, psychology, and the social sciences. As a book of general interest, readers may find it a bit dry and heavy as a survey of social science research.The Social and Applied Psychology of Music Overview

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