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Handbook of Musical Identities [Hardback]

Edited by (Professor of Education, University of Roehampton), Edited by (Professor of Social Psychology, The University of Edinburgh), Edited by (Professor of Music Psychology and Improvisation, University of Edinburgh)
  • Formāts: Hardback, 896 pages, height x width x depth: 252x178x54 mm, weight: 1696 g
  • Izdošanas datums: 23-Feb-2017
  • Izdevniecība: Oxford University Press
  • ISBN-10: 0199679487
  • ISBN-13: 9780199679485
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  • Cena: 207,52 €
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Handbook of Musical IdentitiesPalielināt
  • Formāts: Hardback, 896 pages, height x width x depth: 252x178x54 mm, weight: 1696 g
  • Izdošanas datums: 23-Feb-2017
  • Izdevniecība: Oxford University Press
  • ISBN-10: 0199679487
  • ISBN-13: 9780199679485
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780199679485.html
Keywords:
Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships, and physical expressions. But, just as language can mediate the construction and negotiation of developing identities, so music can also be a means of communication through which aspects of people's identities are constructed. Music can have a profound influence on our developing sense of identity, our values, and our beliefs, be it from rock music, classical music, or jazz.

Musical identities (MacDonald, Hargreaves and Miell, 2002) was unique in being in being one of the first books to explore this fascinating topic. This new book documents the remarkable expansion and growth in the study of musical identities since the publication of the earlier work. The editors identify three main features of current psychological approaches to musical identities, which concern their definition, development, and the identification of individual differences, as well as four main real-life contexts in which musical identities have been investigated, namely in music and musical institutions; specific geographical communities; education; and in health and well-being. This conceptual framework provides the rationale for the structure of the Handbook.

The book is divided into seven main sections. The first, 'Sociological, discursive and narrative approaches', includes several general theoretical accounts of musical identities from this perspective, as well as some more specific investigations. The second and third main sections deal in depth with two of the three psychological topics described above, namely the development of and individual differences in musical identities. The fourth, fifth and sixth main sections pursue three of the real-life contexts identified above, namely 'Musical institutions and practitioners', 'Education', and 'Health and well-being'. The seventh and final main section of the Handbook - 'Case studies' - includes chapters which look at particular musical identities in specific times, places, or contexts.

The multidisciplinary range and breadth of the Handbook's contents reflect the rapid changes that are taking place in music, in digital technology, and in their role in society as a whole, such that the study of musical identity is likely to proliferate even further in the future.

Recenzijas

...the book raises many interesting hypotheses - always a good thing, as books of facts date quickly, but books of ideas inspire. * Popular Music *

List of Abbreviations
xiii
List of Contributors
xv
SECTION 1 EDITORS' INTRODUCTION
1 The changing identity of musical identites
3(24)
David J. Hargreaves
Raymond MacDonald
Dorothy Miell
SECTION 2 SOCIOLOGICAL, DISCURSIVE, AND NARRATIVE APPROACHES
2 Identities and musics: reclaiming personhood
27(19)
David J. Elliott
Marissa Silverman
3 Music-ecology and everyday action: creating, changing, and contesting identities
46(17)
Tia DeNora
4 From small stories: laying the foundations for narrative identities in and through music
63(16)
Margaret S. Barrett
5 Young people's musical lives: learning ecologies, identities, and connectedness
79(26)
Susan A. O'Neill
6 The ear of the beholder: improvisation, ambiguity, and social contexts in the constructions of musical identities
105(17)
Graeme B. Wilson
Raymond MacDonald
7 Post-national identities in music: acting in a global intertextual musical arena
122(15)
Goran Folkestad
8 "Will the real Slim Shady please stand up?": identity in popular music
137(18)
Andy McKinlay
Chris McVittie
SECTION 3 DEVELOPMENT
9 The musical self: affections for life in a community of sound
155(21)
Colwyn Trevarthen
Stephen Malloch
10 Musical identity, interest, and involvement
176(21)
Alexandra Lamont
11 Building musical self-identity in early infancy
197(16)
Johannella Tafuri
12 Processes of musical identity consolidation during adolescence
213(19)
Paul Evans
Gary E. McPherson
13 The moving and movement identities of adolescents: lessons from dance movement psychotherapy in a mainstream secondary school
232(15)
Vicky Karkou
Julie Joseph
SECTION 4 INDIVIDUAL DIFFERENCES
14 Musical identities, music preferences, and individual differences
247(20)
Sebastian P. Dys
E. Glenn Schellenberg
Kate C. McLean
15 From musical experience to musical identity: musical self-concept as a mediating psychological structure
267(21)
Maria B. Spychiger
16 Denning the musical identity of "non-musicians"
288(16)
Nikki S. Rickard
TanChyuan Chin
17 The social psychological underpinnings of musical identities: a study on how personality stereotypes are formed from musical cues
304(18)
David M. Greenberg
Peter J. Rentfrow
18 Musical identity and individual differences in empathy
322(23)
Emery Schubert
SECTION 5 MUSICAL INSTITUTIONS AND PRACTITIONERS
19 Impersonating the music in performance
345(19)
John Rink
20 Performance identity
364(19)
Jane W. Davidson
21 Imagining identifications: how musicians align their practices with publics
383(20)
Byron Dueck
22 Patterns of sociohistorical interaction between musical identity and technology
403(17)
Adam Linson
23 Who am I? The process of identity renegotiation for opera choristers following redundancy
420(16)
Jane Oakland
Raymond MacDonald
Paul Flowers
24 Re-authoring the self: therapeutic songwriting in identity work
436(17)
Felicity A. Baker
Raymond MacDonald
25 Staying one step ahead?: The self-identity of Japanese concert promoters
453(22)
Martin Cloonan
SECTION 6 EDUCATION
26 Musical identity, learning, and teaching
475(18)
Susan Hallam
27 Identity formation and agency in the diverse music classroom
493(17)
Heidi Westerlund
Heidi Partti
Sidsel Karlsen
28 Music in identity in adolescence across school transition
510(17)
Jennifer E. Symonds
Jonathan James Hargreaves
Marion Long
29 Children's ethnic identities, cultural diversity, and music education
527(16)
Beatriz Ilari
30 The identities of singers and their educational environments
543(23)
Graham F. Welch
31 Music games and musical identities
566(23)
Gianna G. Cassidy
Anna M. J. M. Paisley
SECTION 7 HEALTH AND WELL-BEING
32 Music, identity, and health
589(13)
Even Ruud
33 Musical identity in fostering emotional health
602(22)
Suvi Saarikallio
34 Music-making in therapeutic contexts: reframing identity following disruptions to health
624(18)
Wendy L. Magee
35 Identity and musical development in people with severe or profound and multiple learning difficulties
642(26)
Adam Ockelford
John Vorhaus
36 "I would the without my music": relying on musical identities to cope with difficult times
668(14)
Katrina Skewes McFerran
Cherry Hense
37 On musical identities, social pharmacology, and intervention timing in music therapy
682(21)
Jorg Fachner
Jaakko Erkkila
Olivier Brabant
SECTION 8 CASE STUDIES
38 The imaginary African: race, identity, and Samuel Coleridge-Taylor
703(19)
Nicholas Cook
39 The identities of Sevda: from Graeco-Arabic medicine to music therapy
722(14)
Nigel Osborne
40 Musical identities, resilience, and wellbeing: the effects of music on displaced children in Colombia
736(15)
Gloria P. Zapata Restrepo
David J. Hargreaves
41 Music of Englishness: national identity and the first folk revival
751(17)
Robert Colls
Katie Palmer Heathman
42 Sistema Scotland: emerging musical identities in Big Noise, Raploch
768(21)
Kathryn Jourdan
Richard Holloway
43 Musical identities in Australia and South Korea and new identities emerging through social media and digital technology
789(17)
Myung-Sook Auh
Robert Walker
44 Identity, music, and festivity in southern Tunisia
806(17)
Alan Karass
Author Index 823(28)
Subject Index 851
Raymond MacDonald is Professor of Music Psychology and Improvisation and Head of The School of Music at University of Edinburgh. He runs music workshops and lectures internationally and has published over 70 peer reviewed papers and book chapters. He has co-edited four texts, Musical Identities (2002), Musical Communication (2005), Musical Imaginations (2012) and Music Health & Wellbeing (2012) and was editor of the journal Psychology of Music between 2006 and 2012. His on-going research focuses on issues relating to improvisation, musical communication, music health and wellbeing, music education and musical identities. As a saxophonist and composer he is a founding member of The Glasgow Improvisers Orchestra and has released over 60 CDs. Collaborating with musicians such as David Byrne, George Lewis, Evan Parker, Jim O'Rourke and Marilyn Crispell he has toured and broadcast worldwide and has written music for film, television, theatre, radio and art installations.



David Hargreaves is Professor of Education and Froebel Research Fellow at the University of Roehampton, and has previously held posts in the Schools of Psychology and Education at the Universities of Leicester, Durham and the Open University. He has been Editor of Psychology of Music, Chair of the Research Commission of the International Society for Music Education (ISME), and is a Fellow of the British Psychological Society. His books, in psychology, education, the arts, and music have been translated into 15 languages. He has appeared on BBC TV and radio as a jazz pianist and composer, and is organist on his local village church circuit.

Dorothy Miell is Professor of Social Psychology based at the University of Edinburgh where she is also Vice Principal and Head of the College of Arts, Humanities and Social Sciences. She is a Fellow of the British Psychological Society and of the Royal Society of Edinburgh. She has worked on issues of identity, relationships and communication as they apply to creative collaborations in childhood, adolescence and amongst professional artists. Amongst her other co-edited texts are Musical Identities (2002), Learning to Collaborate, Collaborating to Learn (2004), Collaborative Creativity (2004), Musical Communication (2005) and Musical Imaginations (2012).