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Sound Teaching is written for vocal and instrumental music
teachers, music performers with a portfolio career and music
students at conservatoires and universities. Music students
undertaking practice-related research will find examples of
research methodologies and projects that are informative for their
studies. Musical participants of all kinds – students, teachers,
performers, and audiences – will find new ways of understanding
their practice and experience through research.
Sound Teaching is written for vocal and instrumental music
teachers, music performers with a portfolio career and music
students at conservatoires and universities. Music students
undertaking practice-related research will find examples of
research methodologies and projects that are informative for their
studies. Musical participants of all kinds - students, teachers,
performers, and audiences - will find new ways of understanding
their practice and experience through research.
The Routledge Companion to Music Cognition addresses fundamental
questions about the nature of music from a psychological
perspective. Music cognition is presented as the field that
investigates the psychological, physiological, and physical
processes that allow music to take place, seeking to explain how
and why music has such powerful and mysterious effects on us. This
volume provides a comprehensive overview of research in music
cognition, balancing accessibility with depth and sophistication. A
diverse range of global scholars-music theorists, musicologists,
pedagogues, neuroscientists, and psychologists-address the
implications of music in everyday life while broadening the range
of topics in music cognition research, deliberately seeking
connections with the kinds of music and musical experiences that
are meaningful to the population at large but are often overlooked
in the study of music cognition. Such topics include: Music's
impact on physical and emotional health Music cognition in various
genres Music cognition in diverse populations, including people
with amusia and hearing impairment The relationship of music to
learning and accomplishment in academics, sport, and recreation The
broader sociological and anthropological uses of music Consisting
of over forty essays, the volume is organized by five primary
themes. The first section, "Music from the Air to the Brain,"
provides a neuroscientific and theoretical basis for the book. The
next three sections are based on musical actions: "Hearing and
Listening to Music," "Making and Using Music," and "Developing
Musicality." The closing section, "Musical Meanings," returns to
fundamental questions related to music's meaning and significance,
seen from historical and contemporary perspectives. The Routledge
Companion to
A well-balanced volume in terms of global participation of
contributors, and of a mix of junior and established scholars A
well-balanced volume in terms of equal representation from both
Science and Music Covers topics not found in main competing
handbook by Oxford Handbook of Music Psychology, such as: "Music
and Healing," "Music, Pleasure, and Addiction," "Musical
Structure," "Musical context," and the majority of chapters in
"Making and Using Music," "Becoming musical," and "Musical origins
and meanings." Again, the different focuses of the two volumes are
evident in these choices.
What does it mean to be expressive in music performance across
diverse historical and cultural domains? What are the means at the
disposal of a performer in various time periods and musical
practice conventions? What are the conceptualisations of expression
and the roles of performers that shape expressive performance?
This book brings together research from a range of disciplines that
use diverse methodologies to provide new perspectives and formulate
answers to these questions about the meaning, means, and
contextualisation of expressive performance in music. The
contributors to this book explore expressiveness in music
performance in four interlinked parts. Starting with the
philosophical and historical underpinnings crucially relevant for
Western classical musical performance it then reaches out to
cross-cultural issues and finally focuses the attention on various
specific problems, including the teaching of expressive music
performance skills.The overviews provide a focussed and
comprehensive account of the current state of research as well as
new developments and a prospective of future directions.
This is a valuable new book for those in the fields of music, music
psychology, and music education.
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