To what extent does research on musical development impact on educational practices in school and the community? Do musicians from classical and popular traditions develop their identities in different ways? What do teachers and learners take into consideration when assessing progress? This book takes a fresh look at 'the musician' and what constitutes 'development' within the fields of music psychology and music education. In doing so, it explores the relationship between formative experiences and the development of the musician in a range of music education settings. It includes the perspectives of classroom teachers, popular musicians, classical musicians and music educators in higher education. Drawn from an international community of experienced educators and researchers, the contributors offer a range of approaches to research. From life history through classroom observation to content analysis, each section offers competing and complementary perspectives on contemporary practice. The book is an essential resource for musicians, educators, researchers and policy makers, offering insight into the reality of practice from those working within established traditions - such as the conservatoire and school settings - and from those who are currently emerging as significant forces in the fields of popular music education and community music.
Contents: Introduction; Part I Aspiration and Identity: Identity dimensions and age as predictors of adult music preferences, Richard Leadbeater and Alan Marsden; Conservatoire students' attitudes, self-efficacy and aspirations, Marion Long; The formation and development of musical identities with a hearing impairment, Robert Fulford; Undergraduate music students’ experiences in community settings: developing the musician within a university module, Angeliki Triantafyllaki and Christina Anagnostopoulou; Knowing me, knowing you, Mark Pulman; The influence of learning history on musical approaches to piano improvisation, Yuki Morijiri; Levels of expertise and musical aspirations in young instrumental players, Susan Hallam. Part II Attitudes to Teaching and Learning: The MaPS project: mapping teacher conceptions of musical development, Mary Stakelum and David Baker; Canon (re)formation in popular music pedagogy, Tom Parkinson; Music as a specific learning support resource for children with special educational needs and disability in mainstream primary education: practice and attitudes, Maureen Mather; Continuing professional development for the musician as teacher in a university context, Elizabeth Haddon. Part III Modes of Assessment: ’Ryan’s not counting - it’s eight beats on C’: developing the musician in a classroom context, Catherine Preston; Cultural tools in the classroom - a tool to develop the musician?, Anna Backman Bister; Exploring and encouraging metacognitive awareness in novice music students, Meghan Bathgate and Christian Schunn; Assessing leadership skills in the conservatoire, Tim Palmer; Music, informal learning and the instrumental lesson: teacher and student evaluations of the Ear Playing Project (EPP), David Baker; Index.
The theme for the series is the psychology of music, broadly defined. Topics include (i) musical development at different ages, (ii) exceptional musical development in the context of special educational needs, (iii) musical cognition and context, (iv) culture, mind and music, (v) micro to macro perspectives on the impact of music on the individual (from neurological studies through to social psychology), (vi) the development of advanced performance skills and (vii) affective perspectives on musical learning. The series presents the implications of research findings for a wide readership, including user-groups (music teachers, policy makers, parents) as well as the international academic and research communities. This expansive embrace, in terms of both subject matter and intended audience (drawing on basic and applied research from across the globe), is the distinguishing feature of the series, and it serves SEMPRE’s distinctive mission, which is to promote and ensure coherent and symbiotic links between education, music and psychology research.