The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53 chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.

Long before the world discovered grunge, the Pacific Northwest was already home to a singular music culture. In the late 1950s, locals had codified a distinct offshoot of rockin' R&B, and a surprising number of them would skyrocket to success, including Little Bill and the Bluenotes, the Wailers, Ron Holden, Paul Revere and the Raiders, the Kingsmen, Merrilee Rush, and the Sonics. With entertaining accounts gleaned from hundreds of interviews, Peter Blecha tells the story of music in the Pacific Northwest from the 1940s to the 1960s, a golden era that shaped generations of musicians to come. The local R&B scene evolved from the area’s vibrant jazz scene, and Blecha illuminates the musical continuum between Ray Charles (who cut his first record in Seattle) and Quincy Jones to the rock 'n' rollers who forged the classic jazz-tinged "Northwest Sound." DJs built a teen dance circuit that the authorities didn’t like but whose popularity pushed bands to develop crowd-friendly beats. Do-it-yourself enthusiasts launched groundbreaking record companies that scored a surprising number of hit songs. Highlighting key but overlooked figures and offering a new look at well-known musicians (such as an obscure guitarist then known as Jimmy Hendrix), Blecha shows how an isolated region launched influential new sounds upon an unsuspecting world. Stomp and Shout was made possible in part by a grant from 4Culture’s Heritage Program. A Michael J. Repass Book

Just as punk created a space for bands such as the Slits and Poly Styrene to challenge 1970s norms of femininity, through a transgressive, strident new female-ness, it also provoked experimental feminist film makers to initiate a parallel, lens-based challenge to patriarchal modes of film making. In this book, Rachel Garfield breaks new ground in exploring the rebellious, feminist Punk audio-visual culture of the 1970s, tracing its roots and its legacies. In their filmmaking and their performed personae, film and video artists such as Vivienne Dick, Sandra Lahire, Betzy Bromberg, Ruth Novaczek, Sadie Benning, Leslie Thornton, Abigail Child and Anne Robinson offered a powerful, deliberately awkward alternative to hegemonic conformist femininity, creating a new "Punk audio visual aesthetic". A vital aspect of our vibrant contemporary digital audio visual culture, Garfield argues, can be traced back to the techniques and forms of these feminist pioneers, who like their musical contemporaries worked in a pre-digital, analogue modality that nevertheless influenced the emergent digital audio visual culture of the 1990s and 2000s.