The Artist and Academia explores the relationship between artistic and academic ways of knowing. Historically, these have often been presented as opposites; the former characterized as passionate and intuitive and the latter portrayed as systematic and rigorous. Recent scholarship presents a more complex picture. Artistic knowledge demands high levels of skill and rigor, while academic research requires creativity and innovative thinking. This edited collection brings together leading artists and scholars (as well as artist-scholars) to offer a variety of philosophical, educational, experiential, reflexive and imaginative perspectives on the artist and academia. The contributions include in-depth, scholarly discussions on the nature of knowledge and creativity, as well as personal artistic statements from musicians, dancers, actors and writers. Additionally, it explores both the mediational and subversive spaces created by the meeting of artistic and academic traditions. While the book addresses global themes by global writers, its core case study is an educational experiment called the Irish World Academy of Music and Dance at the University of Limerick in Ireland. Established in 1994, it set out to reconfigure the place of the artist in the context of contemporary higher education. The material is clustered into three parts. Part One and Part Two explore the artist as mediator, educator and subversive in academia. Grounded in close-to-practice research, Part Three concludes the volume with a set of case studies from the Irish World Academy. Artistic and academic knowledge come together in this unique set of pieces to explore the development of more inclusive and imaginative pedagogical values.

Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.

Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.

The Artist and Academia explores the relationship between artistic and academic ways of knowing. Historically, these have often been presented as opposites; the former characterized as passionate and intuitive and the latter portrayed as systematic and rigorous. Recent scholarship presents a more complex picture. Artistic knowledge demands high levels of skill and rigor, while academic research requires creativity and innovative thinking. This edited collection brings together leading artists and scholars (as well as artist-scholars) to offer a variety of philosophical, educational, experiential, reflexive and imaginative perspectives on the artist and academia. The contributions include in-depth, scholarly discussions on the nature of knowledge and creativity, as well as personal artistic statements from musicians, dancers, actors and writers. Additionally, it explores both the mediational and subversive spaces created by the meeting of artistic and academic traditions. While the book addresses global themes by global writers, its core case study is an educational experiment called the Irish World Academy of Music and Dance at the University of Limerick in Ireland. Established in 1994, it set out to reconfigure the place of the artist in the context of contemporary higher education. The material is clustered into three parts. Part One and Part Two explore the artist as mediator, educator and subversive in academia. Grounded in close-to-practice research, Part Three concludes the volume with a set of case studies from the Irish World Academy. Artistic and academic knowledge come together in this unique set of pieces to explore the development of more inclusive and imaginative pedagogical values.

"Since singing is so good a thing,I wish all men would learne to sing" (William Byrd, 1588) Over the centuries, there has been reluctance among boys and men to become involved in some forms of singing. Perspectives on Males and Singing tackles this conundrum head-on as the first academic volume to bring together leading thinkers and practitioners who share their insights on the involvement of males in singing. The authors share research that analyzes the axiomatic male disinclination to sing, and give strategies designed to engage males more successfully in performing vocal music emphasizing the many positive effects it can have on their lives. Inspired by a meeting at the Australian symposium 'Boys and Voices', which focused on the engagement of boys in singing, the volume includes contributions from leading authorities in Australia, New Zealand, Canada, the United States and Europe.

""Since singing is so good a thing, I wish all men would learne to sing"" (William Byrd, 1588)

Over the centuries, there has been reluctance among boys and men to become involved in some forms of singing. "Perspectives on Males and Singing" tackles this conundrum head-on as the first academic volume to bring together leading thinkers and practitioners who share their insights on the involvement of males in singing. The authors share research that analyzes the axiomatic male disinclination to sing, and give strategies designed to engage males more successfully in performing vocal music emphasizing the many positive effects it can have on their lives.

Inspired by a meeting at the Australian symposium 'Boys and Voices', which focused on the engagement of boys in singing, the volume includes contributions from leading authorities in Australia, New Zealand, Canada, the United States and Europe.

Creativities, Media, and Technology in Music Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this fifth book in the set comprises three complementary sections: musical creativity as practice; music teaching and learning through technology; and the interplay of media, music, and education. The first section reviews notions of musical creativity, examining practice-based perspectives to support and develop understanding of the diverse types of creativity found within music education practice across the globe. In the second section, authors explore the essential role of technology in musical discourse and in various forms of musical learning, even as technology continually evolves and the needs and possibilities continue to rapidly change. The third section provokes readers to assess their own thinking about the transformative changes occurring within the discipline as a result of advances in media, and the increasing infiltration of media into all aspects of life, the classroom, and music making. Contributors Andrew R. Brown, Pamela Burnard, Bernadette Colley, Ian Cross, Rokus de Groot, Steven C. Dillon, Randi Margrethe Eidsaa, David G. Hebert, Evangelos Himonides, Neryl Jeanneret, Ailbhe Kenny, Andrew King, Eleni Lapidaki, Felicity Laurence, Samuel Leong, Bo Wah Leung, Alagi Mbye, Gary E. McPherson, Ross Purves, Tal-Chen Rabinowitch, S. Alex Ruthmann, Eva Saether, Jonathan Savage, Reza Shayesteh, Petros Stagkos, Matthew D. Thibeault, Evan S. Tobias, Carole Waugh, Graham F. Welch

Singing has been a characteristic behaviour of humanity across several millennia. Chorus America (2009) estimated that 42.6 million adults and children regularly sing in one of 270,000 choruses in the US, representing more than 1:5 households. Similarly, recent European-based data suggest that more than 37 million adults take part in group singing. The Oxford Handbook of Singing is a landmark text on this topic. It is a comprehensive resource for anyone who wishes to know more about the pluralistic nature of singing. In part, the narrative adopts a lifespan approach, pre-cradle to senescence, to illustrate that singing is a commonplace behaviour which is an essential characteristic of our humanity. In the overall design of the Handbook, the chapter contents have been clustered into eight main sections, embracing fifty-three chapters by seventy-two authors, drawn from across the world, with each chapter illustrating and illuminating a particular aspect of singing. Offering a multi-disciplinary perspective embracing the arts and humanities, physical, social and clinical sciences, the book will be valuable for a broad audience within those fields.

Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this fourth book in the set focuses on issues and topics that help to broaden conceptions of music and musical involvement, while recognizing that development occurs through many forms. The first section addresses music education for those with special abilities and special needs; authors explore many of the pertinent issues that can promote or hinder learners who share characteristics, and delve deep into what it means to be musical. The second section of the volume addresses music as a shared, community experience, and the diverse and constantly evolving international practice of community music. The chapters in the third section provide evidence that the process of music education exists as a lifelong continuum that encompasses informal, formal, and non-formal methods alike. The authors encourage music educators to think in terms of a music learning society, where adult education is not peripheral to the priority of other age groups, but is instead fully integral to a vision for the good of society. By developing sound pedagogical approaches that are tailored to take account of all learners, the volume endeavors to move from making individual adaptations towards designing sensitive 'universal' solutions. Contributors Carlos R. Abril, Mary Adamek, Kenneth S. Aigen, Chelcy Bowles, Mary L. Cohen, William M. Dabback, Alice-Ann Darrow, John Drummond, Cochavit Elefant, David J. Elliott, Lee Higgins, Valentina Iadeluca, Judith A. Jellison, Janet L. Jensen, Patrick M. Jones, Jody L. Kerchner, Thomas W. Langston, Andreas C. Lehmann, Katrina McFerran, Gary E. McPherson, David Myers, Adam Ockelford, Helen Phelan, Andrea Sangiorgio, Laya H. Silber, Marissa Silverman, Rineke Smilde, David S. Smith, Kari K. Veblen, Janice Waldron, Graham F. Welch

Music and Music Education in People's Lives is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this first book in the set provides a framework for understanding the content and context of music education, and for future action within the profession. A broad examination of the philosophical, psychological, cultural, international, and contextual issues that underpin a wide variety of teaching environments or individual attributes is paired with 25 relevant and insightful commentaries from established scholars and music educators. Taken as a whole, Music and Music Education in People's Lives gives clear direction to how the discipline of music education can achieve even greater political, theoretical and professional strength. Contributors Harold F. Abeles, Nick Beach, Wayne D. Bowman, Liora Bresler, Patricia Shehan Campbell, Richard Colwell, Robert A. Cutietta, David J. Elliott, Sergio Figueiredo, Lucy Green, Wilfried Gruhn, David Hargreaves, Sarah Hennessy, Liane Hentschke, Donald A. Hodges, Christopher M. Johnson, Estelle R. Jorgensen, Andreas C. Lehmann, Richard Letts, Hakan Lundstroem, Raymond MacDonald, Clifford K. Madsen, Andrew J. Martin, Marie McCarthy, Katrina McFerran, Gary E. McPherson, Bradley Merrick, Dorothy Miell, Graca Mota, Bruno Nettl, Bengt Olsson, Susan A. O'Neill, Johnmarshall Reeve, Bennett Reimer, James Renwick, Huib Schippers, Wendy L. Sims, David J. Teachout, Rena Upitis, Peter R. Webster, Graham F. Welch, Paul Woodford

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. In this first of two volumes, an international list of contributors discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music and the skills and attributes gained when they do so, these chapters examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine the discipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.