The Oxford Handbook Of Music Education Volume 2

This volume offers a comprehensive overview of the many facets of musical experience, behaviour and development in relation to the diverse variety of educational contexts in which they occur.

The two volumes of The Oxford Handbook of Music Education offer a comprehensive overview of the many facets of musical experience, behavior and development in relation to the diverse variety of educational contexts in which they occur. In these volumes, an international list of contributors update and redefine the discipline through fresh and innovative principles and approaches to music learning and teaching.

"Few aspects of daily existence are untouched by technology. Learning and teaching music are no exceptions and arguably have been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing how we create, listen, share, consume, and interact with music--and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. To tease out and elucidate some of the salient problems, interests, and issues, The Oxford Handbook of Technology and Music Education critically situates technology in relation to music education from a variety of perspectives--historical, philosophical, socio-cultural, pedagogical, musical, economic, policy--organized around four broad themes: Emergence and Evolution; Locations and Contexts: Social and Cultural Issues; Experiencing, Expressing, Learning and Teaching; and Competence, Credentialing, and Professional Development. Chapters from a highly diverse group of junior and senior scholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion promotes contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses."-- $c Book jacket.

"Explores a broad array of key issues, concepts, and debates related to music learning and teaching in three phases of a child's development. The first section provides an expanded view of infancy and early childhood, embracing a key theme that most young children's early music-making is improvised and used to communicate with others and the self. These chapters demonstrate the importance of "motherese" or "parentese" to young children's overall development, the extraordinary diversity and richness of children's early musical engagement, and how this can be viewed as a resource for further learning. The second section is devoted to the learning and teaching of music during the middle years of childhood, when music is often a mandated part of the school curriculum. While recognizing the enormous cultural and national differences, chapters in this section give an overview of many varied and innovative forms of musical learning and teaching globally. The authors address issues related to the types of teachers who provide music instructions to children internationally, how they were educated and trained, and how various nations organize their curriculum in ways that provide children with access and opportunities to engage with music in the classroom. The third section focuses on the musical experiences and development of adolescents aged 12 to 18. These chapters explore the role of music in the lives of young people-including how they use and relate to music, how music educators can best meet students' needs, and the types of musical engagement that can either empower or disempower students through involvement in school music."--Provided by publisher.

The two volumes of The Oxford Handbook of Music Education offer a comprehensive overview of the many facets of musical experience, behavior and development in relation to the diverse variety of educational contexts in which they occur. In these volumes, an international list of contributors update and redefine the discipline through fresh and innovative principles and approaches to music learning and teaching.

In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarify, fairness, rigor, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.

The 2nd edition of the Oxford Handbook of Music Psychology updates the original landmark text and provides a comprehensive review of the latest developments in this fast growing area of research. Covering both experimental and theoretical perspectives, each of the 11 sections is edited by an internationally recognised authority in the area. The first ten parts present chapters that focus on specific areas of music psychology: the origins and functions of music; music perception, responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in everyday life; and music therapy. In each part authors critically review the literature, highlight current issues and explore possibilities for the future. The final part examines how, in recent years, the study of music psychology has broadened to include a range of other disciplines. It considers the way that research has developed in relation to technological advances, and points the direction for further development in the field. With contributions from internationally recognised experts across 55 chapters, it is an essential resource for students and researchers in psychology and musicology.

The two volumes of The Oxford Handbook of Mobile Music Studies consolidate an area of scholarly inquiry that addresses how mechanical, electrical, and digital technologies and their corresponding economies of scale have rendered music and sound increasingly mobile-portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place between the late nineteenth and the early twenty-first centuries. Taken together, the two volumes cover a large swath of the world-the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India, Sweden-and a similarly broad array of the musical and nonmusical sounds suffusing the soundscapes of mobility. Volume 1 provides an introduction to the study of mobile music through the examination of its devices, markets, and theories. Conceptualizing a long history of mobile music extending from the late nineteenth century to the present, the volume focuses on the conjunction of human mobility and forms of sound production and reproduction. The volume's chapters investigate the MP3, copyright law and digital downloading, music and cloud computing, the iPod, the transistor radio, the automated call center, sound and text messaging, the mobile phone, the militarization of iPod usage, the cochlear implant, the portable sound recorder, listening practices of schoolchildren and teenagers, the ringtone, mobile music in the urban soundscape, the boombox, mobile music marketing in Mexico and Brazil, music piracy in India, and online radio in Japan and the US.