Mcpherson
Child as Musician 2e C
Mcpherson
Child as Musician 2e C
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The new edition of 'The Child as Musician' celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. It presents theory - both cutting edge and classic - in an accessible way for readers by surveying research concerned with the development and acquisition of musical skills
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The new edition of 'The Child as Musician' celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. It presents theory - both cutting edge and classic - in an accessible way for readers by surveying research concerned with the development and acquisition of musical skills
Produktdetails
- Produktdetails
- Verlag: Oxford University Press, USA
- 2nd edition
- Seitenzahl: 704
- Erscheinungstermin: 21. November 2015
- Englisch
- Abmessung: 251mm x 176mm x 43mm
- Gewicht: 1339g
- ISBN-13: 9780198744443
- ISBN-10: 0198744447
- Artikelnr.: 47865541
- Verlag: Oxford University Press, USA
- 2nd edition
- Seitenzahl: 704
- Erscheinungstermin: 21. November 2015
- Englisch
- Abmessung: 251mm x 176mm x 43mm
- Gewicht: 1339g
- ISBN-13: 9780198744443
- ISBN-10: 0198744447
- Artikelnr.: 47865541
Gary E. McPherson is the Ormond Professor and Director of the Melbourne Conservatorium of Music at the University of Melbourne. He 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. With a particular interest in the acquisition of visual, aural and creative performance skills, he has attempted to understand more precisely how music students become sufficiently motivated and self-regulated to achieve at the highest level.
* Section 1: Development
* 1: Richard Parncutt: Prenatal Development
* 2: Sandra E. Trehub and Franziska Dege?: Reflections on Infants as
Musical Connoisseurs
* 3: Donald A. Hodges: The Child Musician's Brain
* 4: Susan Hallam: Musicality
* 5: Kathleen A. Corrigall and E. Glenn Schellenberg: Music cognition
in childhood
* 6: Jackie Wiggins: Musical Agency
* 7: Adam Ockelford: The potential impact of autism on musical
development
* Section 2: Engagement
* 8: E. Glenn Schellenberg: Music and Nonmusical Abilities
* 9: Janet Mills and Gary E. McPherson: Musical Literacy: Reading
traditional clef notation
* 10: Chris Philpott: Musical Literacy: Music as language
* 11: Andrew Brown: Engaging in a sound musicianship
* 12: Emery Schubert and Gary E. McPherson: Underlying Mechanisms and
Processes in the Development of Emotion Perception in Music
* 13: David J. Elliott and Marissa Silverman: Felt Experiences of
Popular Musics
* 14: Sharon G. Davis: Children, Popular Music, and Identity
* 15: Paul Woodford: The Child as Music Critic
* 16: David J. Hargreaves, Adrian C. North, and Mark Tarrant: How and
why do musical preferences change in childhood and adolescence?
* Section 3: Differences
* 17: Paul Evans: Motivation
* 18: Gary E. McPherson and Aaron Williamon: Building gifts into
musical talents
* 19: Judith A. Jellison: Inclusive Music Classrooms: A Universal
Approach
* 20: Costanza Preti and Katrina S. McFerran: Music and Wellbeing
during Illness
* 21: Katrina S. McFerran: Adolescent Music Is Not Problematic
* Section 4: Skills
* 22: Gary E. McPherson, Jane W. Davidson and Paul Evans: Playing an
instrument
* 23: Margaret Sarah Osborne: Building performance confidence
* 24: Graham Welch: Singing and vocal development
* 25: Kathryn Marsh and Susan Young: Musical play
* 26: Pamela Burnard and Hsu-Chan Kuo: The Individual and Social Worlds
of Children's Musical Creativities
* 27: Peter Webster: Computer-Based Technology
* Section 5: Contexts
* 28: Gordon Cox: Historical Perspectives
* 29: Frank Abrahams and Daniel Abrahams: Child as Musical Apprentice
* 30: Patricia Shehan Campbell: Global Practices
* 31: Alexandra Kertz-Welzel: Transcultural Childhoods
* 32: Lee Higgins: My Voice is Important Too: Non-formal Music
Experiences and Young People
* 33: Susan A. O'Neill: Transformative Music Engagement and Musical
Flourishing
* 34: Jane W. Davidson and Robert Faulkner: The transition from
adolescent to adult music learner
* 35: Stephanie E. Pitts: Fostering lifelong engagement in music
* 1: Richard Parncutt: Prenatal Development
* 2: Sandra E. Trehub and Franziska Dege?: Reflections on Infants as
Musical Connoisseurs
* 3: Donald A. Hodges: The Child Musician's Brain
* 4: Susan Hallam: Musicality
* 5: Kathleen A. Corrigall and E. Glenn Schellenberg: Music cognition
in childhood
* 6: Jackie Wiggins: Musical Agency
* 7: Adam Ockelford: The potential impact of autism on musical
development
* Section 2: Engagement
* 8: E. Glenn Schellenberg: Music and Nonmusical Abilities
* 9: Janet Mills and Gary E. McPherson: Musical Literacy: Reading
traditional clef notation
* 10: Chris Philpott: Musical Literacy: Music as language
* 11: Andrew Brown: Engaging in a sound musicianship
* 12: Emery Schubert and Gary E. McPherson: Underlying Mechanisms and
Processes in the Development of Emotion Perception in Music
* 13: David J. Elliott and Marissa Silverman: Felt Experiences of
Popular Musics
* 14: Sharon G. Davis: Children, Popular Music, and Identity
* 15: Paul Woodford: The Child as Music Critic
* 16: David J. Hargreaves, Adrian C. North, and Mark Tarrant: How and
why do musical preferences change in childhood and adolescence?
* Section 3: Differences
* 17: Paul Evans: Motivation
* 18: Gary E. McPherson and Aaron Williamon: Building gifts into
musical talents
* 19: Judith A. Jellison: Inclusive Music Classrooms: A Universal
Approach
* 20: Costanza Preti and Katrina S. McFerran: Music and Wellbeing
during Illness
* 21: Katrina S. McFerran: Adolescent Music Is Not Problematic
* Section 4: Skills
* 22: Gary E. McPherson, Jane W. Davidson and Paul Evans: Playing an
instrument
* 23: Margaret Sarah Osborne: Building performance confidence
* 24: Graham Welch: Singing and vocal development
* 25: Kathryn Marsh and Susan Young: Musical play
* 26: Pamela Burnard and Hsu-Chan Kuo: The Individual and Social Worlds
of Children's Musical Creativities
* 27: Peter Webster: Computer-Based Technology
* Section 5: Contexts
* 28: Gordon Cox: Historical Perspectives
* 29: Frank Abrahams and Daniel Abrahams: Child as Musical Apprentice
* 30: Patricia Shehan Campbell: Global Practices
* 31: Alexandra Kertz-Welzel: Transcultural Childhoods
* 32: Lee Higgins: My Voice is Important Too: Non-formal Music
Experiences and Young People
* 33: Susan A. O'Neill: Transformative Music Engagement and Musical
Flourishing
* 34: Jane W. Davidson and Robert Faulkner: The transition from
adolescent to adult music learner
* 35: Stephanie E. Pitts: Fostering lifelong engagement in music
* Section 1: Development
* 1: Richard Parncutt: Prenatal Development
* 2: Sandra E. Trehub and Franziska Dege?: Reflections on Infants as
Musical Connoisseurs
* 3: Donald A. Hodges: The Child Musician's Brain
* 4: Susan Hallam: Musicality
* 5: Kathleen A. Corrigall and E. Glenn Schellenberg: Music cognition
in childhood
* 6: Jackie Wiggins: Musical Agency
* 7: Adam Ockelford: The potential impact of autism on musical
development
* Section 2: Engagement
* 8: E. Glenn Schellenberg: Music and Nonmusical Abilities
* 9: Janet Mills and Gary E. McPherson: Musical Literacy: Reading
traditional clef notation
* 10: Chris Philpott: Musical Literacy: Music as language
* 11: Andrew Brown: Engaging in a sound musicianship
* 12: Emery Schubert and Gary E. McPherson: Underlying Mechanisms and
Processes in the Development of Emotion Perception in Music
* 13: David J. Elliott and Marissa Silverman: Felt Experiences of
Popular Musics
* 14: Sharon G. Davis: Children, Popular Music, and Identity
* 15: Paul Woodford: The Child as Music Critic
* 16: David J. Hargreaves, Adrian C. North, and Mark Tarrant: How and
why do musical preferences change in childhood and adolescence?
* Section 3: Differences
* 17: Paul Evans: Motivation
* 18: Gary E. McPherson and Aaron Williamon: Building gifts into
musical talents
* 19: Judith A. Jellison: Inclusive Music Classrooms: A Universal
Approach
* 20: Costanza Preti and Katrina S. McFerran: Music and Wellbeing
during Illness
* 21: Katrina S. McFerran: Adolescent Music Is Not Problematic
* Section 4: Skills
* 22: Gary E. McPherson, Jane W. Davidson and Paul Evans: Playing an
instrument
* 23: Margaret Sarah Osborne: Building performance confidence
* 24: Graham Welch: Singing and vocal development
* 25: Kathryn Marsh and Susan Young: Musical play
* 26: Pamela Burnard and Hsu-Chan Kuo: The Individual and Social Worlds
of Children's Musical Creativities
* 27: Peter Webster: Computer-Based Technology
* Section 5: Contexts
* 28: Gordon Cox: Historical Perspectives
* 29: Frank Abrahams and Daniel Abrahams: Child as Musical Apprentice
* 30: Patricia Shehan Campbell: Global Practices
* 31: Alexandra Kertz-Welzel: Transcultural Childhoods
* 32: Lee Higgins: My Voice is Important Too: Non-formal Music
Experiences and Young People
* 33: Susan A. O'Neill: Transformative Music Engagement and Musical
Flourishing
* 34: Jane W. Davidson and Robert Faulkner: The transition from
adolescent to adult music learner
* 35: Stephanie E. Pitts: Fostering lifelong engagement in music
* 1: Richard Parncutt: Prenatal Development
* 2: Sandra E. Trehub and Franziska Dege?: Reflections on Infants as
Musical Connoisseurs
* 3: Donald A. Hodges: The Child Musician's Brain
* 4: Susan Hallam: Musicality
* 5: Kathleen A. Corrigall and E. Glenn Schellenberg: Music cognition
in childhood
* 6: Jackie Wiggins: Musical Agency
* 7: Adam Ockelford: The potential impact of autism on musical
development
* Section 2: Engagement
* 8: E. Glenn Schellenberg: Music and Nonmusical Abilities
* 9: Janet Mills and Gary E. McPherson: Musical Literacy: Reading
traditional clef notation
* 10: Chris Philpott: Musical Literacy: Music as language
* 11: Andrew Brown: Engaging in a sound musicianship
* 12: Emery Schubert and Gary E. McPherson: Underlying Mechanisms and
Processes in the Development of Emotion Perception in Music
* 13: David J. Elliott and Marissa Silverman: Felt Experiences of
Popular Musics
* 14: Sharon G. Davis: Children, Popular Music, and Identity
* 15: Paul Woodford: The Child as Music Critic
* 16: David J. Hargreaves, Adrian C. North, and Mark Tarrant: How and
why do musical preferences change in childhood and adolescence?
* Section 3: Differences
* 17: Paul Evans: Motivation
* 18: Gary E. McPherson and Aaron Williamon: Building gifts into
musical talents
* 19: Judith A. Jellison: Inclusive Music Classrooms: A Universal
Approach
* 20: Costanza Preti and Katrina S. McFerran: Music and Wellbeing
during Illness
* 21: Katrina S. McFerran: Adolescent Music Is Not Problematic
* Section 4: Skills
* 22: Gary E. McPherson, Jane W. Davidson and Paul Evans: Playing an
instrument
* 23: Margaret Sarah Osborne: Building performance confidence
* 24: Graham Welch: Singing and vocal development
* 25: Kathryn Marsh and Susan Young: Musical play
* 26: Pamela Burnard and Hsu-Chan Kuo: The Individual and Social Worlds
of Children's Musical Creativities
* 27: Peter Webster: Computer-Based Technology
* Section 5: Contexts
* 28: Gordon Cox: Historical Perspectives
* 29: Frank Abrahams and Daniel Abrahams: Child as Musical Apprentice
* 30: Patricia Shehan Campbell: Global Practices
* 31: Alexandra Kertz-Welzel: Transcultural Childhoods
* 32: Lee Higgins: My Voice is Important Too: Non-formal Music
Experiences and Young People
* 33: Susan A. O'Neill: Transformative Music Engagement and Musical
Flourishing
* 34: Jane W. Davidson and Robert Faulkner: The transition from
adolescent to adult music learner
* 35: Stephanie E. Pitts: Fostering lifelong engagement in music