Vocal, Instrumental, and Ensemble 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 third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others.
These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally.
Contributors
Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jorgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternstrom, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy
Reihe
Sprache
Verlagsort
Zielgruppe
Illustrationen
21 line, 1 halftone, 3 combo
Maße
Höhe: 170 mm
Breite: 246 mm
Dicke: 28 mm
Gewicht
ISBN-13
978-0-19-067462-5 (9780190674625)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Gary E. McPherson studied music education at the Sydney Conservatorium of Music, before completing a master of music education at Indiana University, a doctorate of philosophy at the University of Sydney, and a Licentiate and Fellowship in trumpet performance through Trinity College, London. He is the Ormond Professor and Director of the Melbourne Conservatorium of Music at the University of Melbourne, and has served as National President of the Australian Society for Music Education and President of the International Society for Music Education. His research interests are broad and his approach interdisciplinary. His most important research examines the acquisition and development of musical competence, and motivation to engage and participate in music from novice to expert levels.
Graham F. Welch holds the University College London (UCL) Institute of Education Established Chair of Music Education. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE), a former President of the International Society for Music Education (ISME), and past co-chair of the Research Commission of ISME. Current Visiting Professorships include the Universities of Queensland (Australia), Guildhall School of Music and Drama, and Liverpool (UK). He is an ex-member of the UK Arts and Humanities Research Council's (AHRC) Review College for music and has been a specialist consultant for Government departments and agencies in the UK, Italy, Sweden, USA, Ukraine, UAE, South Africa and Argentina. Publications number over three hundred and fifty and embrace musical development and music education, teacher education, the psychology of music, singing and voice science, and music in special education and disability.
Herausgeber*in
Ormond Chair of Music and DirectorOrmond Chair of Music and Director, Melbourne Conservatorium of Music, The University of Melbourne
Chair of Music EducationChair of Music Education, Institute of Education, University of London
Part 1
Vocal and Choral Music
Part Editor: John Nix
Chapter 1. Commentary: Vocal and choral music?
John Nix
Chapter 2. Solo voice pedagogy?
Jean Callaghan, Shirlee Emmons, and Lisa Popeil
Chapter 3. Group and ensemble vocal music?
Sten Ternstroem, Harald Jers, and John Nix
Chapter 4. The young singer?
Ken Phillips, Jenevora Williams, and Robert Edwin
Chapter 5. The older singer?
Robert T. Sataloff and Jane Davidson
Chapter 6. Voice health and vocal education?
John Nix and Nelson Roy
Part 2
Instrumental Music
Part Editor: Susan Hallam
Chapter 7. Commentary: Instrumental music?
Susan Hallam
Chapter 8. Processes of instrumental learning: The development of musical expertise?
Susan Hallam and Alfredo Bautista
Chapter 9. Practice?
Andreas C. Lehmann and Harald Jorgensen
Chapter 10. The changing face of individual instrumental tuition: Value, purpose and potential?
Andrea Creech and Helena Gaunt
Chapter 11. Building musicianship in the instrumental classroom?
Robert A. Duke and James L. Byo
Chapter 12. Psychological and physiological aspects of learning to perform?
Ioulia Papageorgi and Reinhard Kopiez
Chapter 13. Musical instrument learning, music ensembles, and musicianship in a global and digital age?
Michael Webb and Frederick A. Seddon
Chapter 14. The role of bodily movement in learning and performing music: Applications for education?
Jane Davidson
Part 3
Ensembles
Part Editor: Jere T. Humphreys
Chapter 15. Commentary: Ensembles?
Jere T. Humphreys
Chapter 16. The sociology and policy of ensembles?
John W. Richmond
Chapter 17. North American school ensembles?
William R. Lee with Michael D. Worthy
Chapter 18. Once from the top: Reframing the role of the conductor in ensemble teaching?
Steven J. Morrison and Steven M. Demorest
Chapter 19. Community music ensembles
Don D. Coffman and Lee Higgins
Chapter 20. Youth orchestras?
Margaret Kartomi
Chapter 21. Popular music ensembles?
Carlos Xavier Rodriguez
Chapter 22. Pathways to learning and teaching indigenous and world
music ensembles?
Robert Burke and Sam Evans
