Books in the SEMPRE Studies in The Psychology of Music series

What can infants hear? Is it useful for them to sing and listen to music? Is their auditory sensitivity developed before their birth? At what age do they start singing, and clapping their hands? This book focuses on the development of human musical abilities, and puts forward an educational perspective based on the results of the research.

Addresses a pressing need to provide a sociological foundation for understanding music education. This book outlines some introductory concepts in sociology and music education and then draws together seminal theoretical insights with examples from practice with innovative applications of sociological theory to the field of music education.

This collection explores the processes and experiences of attending live music events from the initial decision to attend through to audience responses and memories of a performance after it has happened.

Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice.

Despite their central role in many forms of music-making, drummers have been largely neglected in the scholarly literature on music and education. Drawing on data collected from in-depth interviews and questionnaires, Gareth Dylan Smith explores the identities, practices and learning of teenage and adult kit drummers in and around London.

Intends to clarify the way in which the subject of Music and Gesture is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation. This title provides alternative and complementary insights into the particular areas of the subject.

How do we develop musical creativity? How is musical creativity nurtured in collaborative improvisation? How is it used as a communicative tool in music therapy? This title offers research on these questions, celebrating the diversity of ways in which learners of all ages develop and use musical creativity.

The study of musical composition has, in the main, been informed by anecdotal after-the-event accounts or post hoc analyses of composition. This book presents the first coherent exploration around this unique aspect of human creative activity. The central threads, or key themes - compositional process.

Studio lesson activity is represented as a private interaction, dealing with skill acquisition and reflecting a tradition based in apprenticeship, as well as the personal attributes and intentions of participants. This title helps to create a framework that can support reflection among practitioners as they continually develop their work.

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.

This book brings together current psychological and educational research on issues related to advanced musical performance learning within higher education contexts. Each of the book's four sections focus on one aspect of music performance and learning: musics in higher education and beyond; musical biographies and musical journeys.

Internationally renowned scholars and practitioners explore here the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings and explore further issues of assessment, methodology, technology, performer knowledge, live performance, artistic collaboration and the affordances of a musical instrument in relation to artistic research in musical performance.

Investigates CoMP as a rich model for community engagement, musical participation and transformation in music education. This book provides a study of the social process of collective music-making that builds on and expands a 'community of practice' framework.

This volume draws together critical perspectives in three overarching areas in which technology is used to support music education: Music Production; Game technology; Musical creation, experience and understanding. The 14 chapters reflect the emerging field of the study of technology in music from a pedagogical perspective.

This Festschrift honors the career of Charles P. Schmidt on the occasion of his retirement from the Indiana University Jacobs School of Music. His main research focus has been the social-psychology of music education, including the subtopics of motivation in music learning, applied music teaching behaviors, and personality and cognitive styles in music teaching and learning. The chapters in this volume recognize the influence of Schmidt as a researcher, a research reviewer, and a research mentor, and contribute to the advancement of the social-psychological model and to research standards in music education. These themes are developed by a stunning cast of music education scholars, including Hal Abeles, Don Coffman, Mary Cohen, Robert Duke, Patricia Flowers, Donna Fox, Victor Fung, Joyce Gromko, Jere Humphreys, Estelle Jorgensen, Anthony Kemp, Barbara Lewis, Clifford Madsen, Lissa May, Peter Miksza, Rudolf Radocy, Joanne Rutkowski, Wendy Sims, Keith Thompson, Kevin Watson, and Stephen Zdzinski. Their writings are presented in three sections: Social-Psychological Advances in Music Education, Social Environments for Music Education, and Advancing Effective Research in Music Education. This collection, edited by Patrice Madura Ward-Steinman, will prove invaluable for students and faculty in search of important research questions and models of research excellence.

Familiarity underpins our engagement with music. This book highlights theoretical and empirical considerations about familiarity from three perspectives: listening, musicology and performance. Part I, ΓÇÖListeningΓÇÖ, addresses familiarity as it relates to listenersΓÇÖ behaviour and responses to music, specifically in regulating our choice and exposure to music on a daily basis; how we get to know music through regular listening; how comfortable we feel in a Western concert environment; and musicΓÇÖs efficacy as a pain-reliever. Part II, ΓÇÖMusicologyΓÇÖ exposes the notion of familiarity from varied stances, including appreciation of music in our own and other cultures through ethnomusicology; exploration of the perception of sounds via music analysis; philosophical reflection on the efficiency of communication in musicology; evaluation of the impact of researchersΓÇÖ musical experiences on their work; and the influence of familiarity in music education. Part III, ΓÇÖPerformanceΓÇÖ, focuses on the effects of familiarity in relation to different aspects of Western art and popular performance, including learning and memorizing music; examination of ΓÇÖgrooveΓÇÖ in popular performance; exploration of the role of familiarity in shaping socio-emotional behaviour between members of an ensemble; and consideration about the effects of the unique type of familiarity gained by musicians through the act of performance itself.