In 1986 was published what was to become the seminal text in the then young field of music psychology. The Musical Mind, written by the relatively unknown John Sloboda, made ground breaking inroads in raising crucial questions relating to music's status as a form of human expression. The scope of the book was impressive: from music perception to production, embracing topics as diverse as music's origin and the circumstances that encourage its skill acquisition. Musical structure, grouping, and perceptual processing, including memory, were key areas where John Sloboda had made early empirical investigations. Discussion of emotional responses and creative processes were far more inductively written, based on his own personal experiences. The Musical Mind laid a research agenda in asking those crucial 'how' and 'why' questions that have since occupied a growing body of researchers from all over the world in the intervening years. Following a quarter of a century after that seminal work, Music and the Mind celebrates the life and work of John Sloboda whilst taking stock of where the field of music psychology stands 20 years after The Musical Mind first appeared. It reviews key areas of current research in the field, written by world-leading authors, each making a significant and original academic contribution. Offering a timely perspective on how the field of music psychology exists today Music and the Mind also reflects on how that work has been significantly stimulated by the influential work of John Sloboda. It will be fascinating reading for students and researchers in music psychology and musicology, as well as music professionals Jane Davidson and Irene Deliege: Prelude John Sloboda and his contribution 1. Michel Imberty: Music, linguistics and cognition 2. Eric Fillenz Clarke: 'What are the important questions?' A reflection Motivating Musical Lives 3. Susan O'Neill: Developing a young musician's growth mindset: the role of motivation, self-theories and resiliency 4. Alexandra Lamont: Negotiating Music in the Real World: development, motivation, process and effect 5. Jane Davidson: Musical Participation: Expectations, Experiences and Outcomes Music and Emotion 6. Alf Gabrielsson: How do Strong Experiences with Music (SEM) relate to experiences in everyday listening to music? 7. Patrik N. Juslin: Music and Emotion: Seven Questions, Seven Answers Sloboda's Recall Paradigm 8. Mario Baroni, Rossana Dalmonte and Roberto Caterina: Perception of melody. An empirical approach 9. Daniel Muellensiefen and Geraint A. Wiggins: Sloboda's recall paradigm for melodic memory: A new, computational perspective Musical Achievement and Expertise 10. Frederick A. Seddon: Musical encounters of the temporary kind 11. Antonia Ivaldi: Routes to Adolescent Musical Expertise 12. Reinhard Kopiez: The musical child prodigy (Wunderkind) in music history: A historiometric analysis 13. Adam Ockelford: Evidence from a Savant of how Atonal Music is Processed in Cognition' Examining Musical Performance 14. Nicholas J. Cook: Off the record: performance, history, and musical logic 15. Andreas Lehmann: Expressive Variants in the Opening Robert Schumann's Arlequin (from Carnaval, op. 9): 54 Pianists' Interpretations of a Metrical Ambiguity 16. Geoff Luck: Quantifying the beat-inducing properties of conductors' temporal gestures, and conductor-musician synchronization 17. Jane Ginsborg and Roger Chaffin: Performance cues in singing: Evidence from practice and recall Music and cultural integration 18. Arild Bergh: Emotions in motion: Transforming conflict with the help of music 19. Richard Parncutt and Angelika Dorfer: The role of music in the integration of cultural minorities Irene Deliege: Postlude Irene Deliege obtained her qualifications at the Royal Conservatory of Brussels. After a twenty year career as a music teacher, she retrained in psychology and obtained her PhD in 1991 from the University of Liege where she was responsible for the Unit of Research in Psychology of Music. A founding member of ESCOM, she has acted since its inception as permanent secretary and Editor of the Journal MUSICAE SCIENTIAE. She is the author of several articles and co-edited books dedicated to music perception. Jane Davidson is the current Callaway/Tunely Chair of Music at the University of Western Australia. She has published extensively within psychology of music with research topics including expressive body movement, collaborative performance, music learning and ability, and singing. Her first academic appointment was at University of Keele between 1991-1993, where she worked as a post-doctoral fellow with John Sloboda and Michael Howe on an innovatory study of the biographical determinants of musical abilities. This led to more than 20 joint peer-reviewed publications.