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El. knyga: Oxford Handbook of Music Education, Volume 2

Edited by (Chair of Music Education, Institute of Education, University of London, London, UK), Edited by (Ormond Chair of Music and Director, Melbourne Conservatorium of Music, University of Melbourne, Melbourne, Australia)
  • Formatas: 656 pages
  • Serija: Oxford Handbooks
  • Išleidimo metai: 15-Jul-2012
  • Leidėjas: Oxford University Press Inc
  • Kalba: eng
  • ISBN-13: 9780199928026
  • Formatas: 656 pages
  • Serija: Oxford Handbooks
  • Išleidimo metai: 15-Jul-2012
  • Leidėjas: Oxford University Press Inc
  • Kalba: eng
  • ISBN-13: 9780199928026

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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. While the first volume primarily focuses on children during school-age years, this second collects an international list of contributors to explore how music learning takes place outside of the traditional classroom environment. Discussing a range of issues such as music education for the special needs population, music learning in adulthood, and music learning through media and technology these chapters help to broaden conceptions of music and musical involvement. 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.

Recenzijos

This comprehensive handbook is the ultimate reference for those interested in music education ... The format is superb; each part or topic is outlined in the table of contents, and each chapter includes an overview, graphs and charts (if applicable), reflective questions, the key source, and detailed references ...The editor's work is excellent. * V. S. Xenakis, Choice *

Contributors xiii
Introduction 1(4)
Part 1 Special Abilities, Special Needs
5(92)
Adam Ockelford
1.1 Commentary: Special Abilities, Special Needs
7(4)
Adam Ockelford
1.2 Mapping Musical Development in Learners with the Most Complex Needs: The Sounds of Intent Project
11(20)
Adam Ockelford
Graham F. Welch
1.3 Exceptional Musical Abilities: Musical Prodigies
31(20)
Gary E. McPherson
Andreas C. Lehmann
1.4 A Fresh Look at Music Therapy in Special Education
51(14)
Katrina McFerran
Cochavit Elefant
1.5 Inclusive Music Classrooms and Programs
65(16)
Judith A. Jellison
1.6 Preparing for the Future: Music Students with Special Education Needs in School and Community Life
81(16)
Alice-Ann Darrow
Mary S. Adamek
Part 2 Music in the Community
97(124)
David J. Elliott
2.1 Commentary: Music in the Community
99(5)
David J. Elliott
2.2 The Community within Community Music
104(16)
Lee Higgins
2.3 Community Music and Social Capital
120(18)
Patrick M. Jones
Thomas W. Langston
2.4 Community Music Therapy
138(17)
Kenneth S. Aigen
2.5 Community Music and Social Justice: Reclaiming Love
155(13)
Marissa Silverman
2.6 Sonic Hospitality: Migration, Community, and Music
168(17)
Helen Phelan
2.7 At-Risk Youth: Music-Making as a Means to Promote Positive Relationships
185(18)
Mary L. Cohen
Laya H. Silber
Andrea Sangiorgio
Valentina Iadeluca
2.8 Fast Forward: Emerging Trends in Community Music
203(18)
Kari K. Veblen
Janice L. Waldron
Part 3 Adult Learning in a Lifespan Context
221(96)
David E. Myers
Chelcy L. Bowles
3.1 Commentary: Adult learning in a Lifespan Context
223(6)
David E. Myers
3.2 Elders and Music: Empowering Learning, Valuing Life Experience, and Considering the Needs of Aging Adult Learners
229(14)
William M. Dabback
David S. Smith
3.3 Adult Music Learning in Formal, Nonformal, and Informal Contexts
243(14)
Kari K. Veblen
3.4 Music Teacher Education: Crossing Generational Borders
257(16)
Jody L. Kerchner
Carlos R. Abril
3.5 The Role of Higher Education in Fostering Musically Engaged Adults
273(16)
Chelcy L. Bowles
Janet L. Jensen
3.6 Lifelong Learning for Professional Musicians
289(14)
Rineke Smilde
3.7 An International Perspective on Music Education for Adults
303(14)
John Drummond
Part 4 Musical Creativity as Practice
317(110)
Pamela Burnard
4.1 Commentary: Musical Creativity as Practice
319(18)
Pamela Burnard
4.2 Empathy and Creativity in Group Musical Practices: Towards a Concept of Empathic Creativity
337(17)
Ian Cross
Felicity Laurence
Tal-Chen Rabinowitch
4.3 Intercultural Tensions and Creativity in Music
354(17)
Eva Saether
Alagi Mbye
Reza Shayesteh
4.4 Communal Creativity as Socio-musical Practice
371(18)
Eleni Lapidaki
Rokus de Groot
Petros Stagkos
4.5 Assessing Creativity in Music: International Perspectives and Practices
389(19)
Samuel Leong
Pamela Burnard
Neryl Jeanneret
Bo Wah Leung
Carole Waugh
4.6 Creativity in Partnership Practices
408(19)
Bernadette D. Colley
Randi Margrethe Eidsaa
Ailbhe Kenny
Bo Wah Leung
Part 5 Music Learning and Teaching through Technology
427(86)
Evangelos Himonides
5.1 Commentary: Music learning and Teaching through Technology
429(4)
Evangelos Himonides
5.2 The Misunderstanding of Music-Technology-Education: A Meta Perspective
433(24)
Evangelos Himonides
5.3 Technology and the Educator
457(19)
Ross Purves
5.4 The Student Prince: Music-Making with Technology
476(16)
Andrew King
5.5 Driving forward Technology's Imprint on Music Education
492(21)
Jonathan Savage
Part 6 Media, Music, and Education
513(72)
Matthew D. Thibeault
6.1 Commentary: Media, Music, and Education
515(2)
Matthew D. Thibeault
6.2 Music Education in the Postperformance World
517(14)
Matthew D. Thibeault
6.3 Let's Play! Learning Music through Video Games and Virtual Worlds
531(18)
Evan S. Tobias
6.4 Collaborative Digital Media Performance with Generative Music Systems
549(18)
Andrew R. Brown
Steven C. Dillon
6.5 Music Learning and New Media in Virtual and Online Environments
567(18)
S. Alex Ruthmann
David G. Hebert
Part 7 Critical Reflections and Future Action
585(118)
Gary E. McPherson
Graham F. Welch
7.1 Commentary: Critical Reflections and Future Action
587(6)
Gary E. McPherson
Graham F. Welch
7.2 Politics, Policy, and Music Education
593(4)
Hal Abeles
7.3 Instrumental Teachers and Their Students: Who's in the Driver's Seat?
597(4)
Nick Beach
7.4 University Professors and the Entrepreneurial Spirit
601(6)
Liora Bresler
7.5 Pride and Professionalism in Music Education
607(5)
Richard Colwell
7.6 Pondering the Grand Experiment in Public Music Education
612(3)
Robert A. Cutietta
7.7 Music Education and Some of Its Subfields: Thoughts about Future Priorities
615(6)
Lucy Green
7.8 Music Education: An Unanswered Question
621(4)
Wilfried Gruhn
7.9 Improving Primary Teaching: Minding the Gap
625(4)
Sarah Hennessy
7.10 International Music Education: Setting Up a Global Information System
629(5)
Liane Hentschke
7.11 The Responsibility of Research in Defining the Profession of Music Education
634(3)
Christopher M. Johnson
7.12 Constructing Communities of Scholarship in Music Education
637(4)
Estelle R. Jorgensen
7.13 Internationalizing Music Education
641(3)
Andreas C. Lehmann
7.14 Emotion in Music Education
644(7)
Richard Letts
7.15 Music Education from a Slightly Outside Perspective
651(6)
Hakan Lundstrom
7.16 Research Issues in Personal Music Identification
657(4)
Clifford K. Madsen
7.17 Preparation, Perseverance, and Performance in Music: Views from a Program of Educational Psychology Research
661(6)
Andrew J. Martin
7.18 Music Therapy in Schools: An Expansion of Traditional Practice
667(4)
Katrina McFerran
7.19 Embracing New Digital Technologies: Now and into the Future
671(3)
Bradley Merrick
7.20 Challenges for Research and Practices of Music Education
674(4)
Bengt Olsson
7.21 All Theoried Up and Nowhere to Go
678(4)
Bennett Reimer
7.22 Make Research, Not War: Methodologies and Music Education Research
682(3)
Wendy L. Sims
7.23 The Preparation of Music Teacher Educators: A Critical Link
685(4)
David J. Teachout
7.24 Music and the Arts: As Ubiquitous and Fundamental as the Air We Breathe
689(5)
Rena B. Upitis
7.25 There Is Nothing Complex about a Correlation Coefficient
694(4)
Peter R. Webster
7.26 Dewey's Bastards: Music, Meaning, and Politics
698(5)
Paul Woodford
Index 703
Gary E. McPherson is Ormond Chair and Director of the Melbourne Conservatorium of Music, University of Melbourne. He is editor of The Science and Psychology of Music Performance (OUP, 2002, with Richard Parncutt) and The Child as Musician: A Handbook of Musical Development (2006). A past President of ISME he has published well over 100 publications across a range of music education and music psychology topics.

Graham Welch is Chair of Music Education at the Institute of Education, University of London. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE) and Immediate Past President of the International Society for Music Education (ISME). His publications number over three hundred and embrace musical development and music education, teacher education, the psychology of music, singing and voice science and music in special education and disability.