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Oxford Handbook of Music Performance, Volume 1 [Hardback]

Edited by (Professor of Music, Melbourne Conservatorium of Music)
  • Formāts: Hardback, 736 pages, height x width x depth: 182x256x46 mm, weight: 1406 g
  • Sērija : Oxford Handbooks
  • Izdošanas datums: 13-Apr-2022
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0190056282
  • ISBN-13: 9780190056285
  • Hardback
  • Cena: 154,28 €*
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  • Formāts: Hardback, 736 pages, height x width x depth: 182x256x46 mm, weight: 1406 g
  • Sērija : Oxford Handbooks
  • Izdošanas datums: 13-Apr-2022
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 0190056282
  • ISBN-13: 9780190056285
The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53
chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this
type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the
inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical
issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to
their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.
Acknowledgments ix
List of Contributors
xi
1 Contextualizing the Study of Music Performance
1(8)
Gary E. McPherson
PART I DEVELOPMENT AND LEARNING---PART EDITOR GARY E. MCPHERSON
2 The Origins of Musical Expertise
9(22)
Alexander P. Burgoyne
David Z. Hambrick
Lauren Julius Harris
3 Musical Potential, Giftedness, and Talent Development
31(25)
Gary E. McPherson
Jennifer Blackwell
Susan Hallam
4 Readiness for Learning to Perform Music
56(28)
Jennifer Blackwell
Gary E. McPherson
5 Talent Development in Music
84(22)
Daniel Mullensiefen
Aaron Kozbelt
Paula M. Olszewski-Kubilius
Rena F. Subotnik
Frank C. Worrell
Franzis Preckel
6 Self-Directed Learning Strategies
106(17)
Kelly A. Parkes
7 High-Impact Teaching Mindframes
123(30)
Gary E. McPherson
John Hattie
PART II PROFICIENCIES---PART EDITOR PETER MIKSZA
8 Practice
153(20)
Peter Miksza
9 Playing by Ear
173(19)
Warren Haston
Gary E. McPherson
10 Sight-Reading
192(22)
Katie Zhukov
Gary E. McPherson
11 Improvisation
214(20)
Raymond MacDonald
12 Memorization
234(20)
Jane Ginsborg
13 Conducting
254(19)
Steven J. Morrison
Brian A. Silvey
14 Musical Expression
273(21)
Emery Schubert
15 Body Movement
294(33)
Jane W. Davidson
Mary C. Broughton
PART III PERFORMANCE PRACTICES---PART EDITOR JANE W. DAVIDSON
16 Performance Practices for Baroque and Classical Repertoire
327(26)
Dorottya Fabian
17 Performance Practices for Romantic and Modern Repertoire
353(43)
Neal Peres Da Costa
18 New Music: Performance Institutions and Practices
396(60)
Ian Pace
19 Emotion and Performance Practices
456(28)
Stephanie Rocke
Jane W. Davidson
Frederic Kiernan
20 Musical Creativity in Performance
484(26)
Dylan van der Schyff
Andrea Schiavio
21 Performing in the Studio
510(18)
Mark Slater
22 Diversity, Inclusion, and Access
528(25)
Tawnya D. Smith
Karin S. Hendricks
PART IV PSYCHOLOGY---PART EDITOR PAUL EVANS
23 Self-Regulated Learning Music Microanalysis
553(23)
Gary E. McPherson
24 Intrinsic and Extrinsic Motivations for Music Performance
576(28)
Paul Evans
Richard M. Ryan
25 Personality and Individual Differences
604(26)
Emese Hruska
Arielle Bonneville-Roussy
26 Buoyancy, Resilience, and Adaptability
630(22)
Andrew J. Martin
Paul Evans
27 Identity and the Performing Musician
652(18)
Jane Oakland
Raymond MacDonald
28 Synesthesia and Music Performance
670(19)
Solange Glasser
Index 689
Gary E. McPherson is the Ormond Professor of Music at the Melbourne Conservatorium of Music, the University of Melbourne, Australia. He has served as President of the International Society for Music Education and National President of the Australian Society for Music Education, and in 2021 was the recipient of an Honorary Doctorate from Lund University, Sweden. 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. He has published over 250 articles and book chapters and coauthored, coedited, or edited fourteen books for OUP, including The Child as Musician, Musical Prodigies: Interpretations from Psychology, Education, Musicology and Ethnomusicology, and The Oxford Handbook of Music Education.