The Science and Psychology of Music Performance

Creative Strategies for Teaching and Learning

Inbunden, Engelska, 2002

966 kr

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Beskrivning

Music educators and practicing musicians have failed to benefit as much as they could from the past two decades of music psychology research. In this volume, Parncutt and McPherson propose to improve the situation by describing new approaches, informed by recent psychological research, to teaching music, learning music, and making music at all educational levels. Each chapter represents the collaboration between a music psychologist and a music educator. The articles begin by outlining music-psychological issues that are probably unfamiliar to musicians and music educators. Then, they propose teaching strategies and materials inspired by the psychologists' findings. The volume's twenty-one articles cover the broad issues of "the developing musician", "subskills of musical performance", and "instruments and ensembles".

Produktinformation

Utgivningsdatum:2002-05-30
Mått:236 x 160 x 33 mm
Vikt:712 g
Format:Inbunden
Språk:Engelska
Antal sidor:400
Förlag:OUP USA
ISBN:9780195138108

Utforska kategorier

Musikvetenskap inom Kultur
Psykologi inom Psykologi och pedagogik
Naturvetenskap:allmänt inom Naturvetenskap och teknik

Mer om författaren

Richard Parncutt is associate professor of systematic musicology at the University of Graz. He is the author of Harmony: A Psychoaccoustical Approach, and many research articles on the perception of harmony, tonality, and rhythm. He is also an internationally experienced pianist and piano teacher. Gary McPherson is associate professor of music education at the University of New South Wales. He has served as treasurer ofthe International Society for Music Education and national president of the Australian Society for Music Education. As a trumpeter, he has performed with several of Australia's leading ensembles.

Recensioner i media

This is a finely produced publication and a tribute to the expertise and, I should think, perseverance of its two editors. Its target audience of music educators and music psychologists will be well pleased and will find much to cite here.