- Inbunden (Hardback)
- Antal sidor
- OUP Oxford
- 266 x 190 x 38 mm
- Antal komponenter
- 1315 g
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The Child as Musician
A handbook of musical development
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Music Teacher This timely, fascinating and thought-provoking set of essays, says editor Gary McPherson, sets out to 'celebrate the richness and diversity of the many different ways in which children can engage in and interact with music.' It succeeds magnificently, but provides moreit is a book that can be heartily recommended to anyone involved in music making and education, and - not least - to every parent.
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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. Prenatal Development ; 2. Reflections on Infants as Musical Connoisseurs ; 3. The Child Musician's Brain ; 4. Musicality ; 5. Music cognition in childhood ; 6. Musical Agency ; 7. The potential impact of autism on musical development ; SECTION 2: ENGAGEMENT ; 8. Music and Nonmusical Abilities ; 9. Musical Literacy: Reading traditional clef notation ; 10. Musical Literacy: Music as language ; 11. Engaging in a sound musicianship ; 12. Underlying Mechanisms and Processes in the Development of Emotion Perception in Music ; 13. Felt Experiences of Popular Musics ; 14. Children, Popular Music, and Identity ; 15. The Child as Music Critic ; 16. How and why do musical preferences change in childhood and adolescence? ; SECTION 3: DIFFERENCES ; 17. Motivation ; 18. Building gifts into musical talents ; 19. Inclusive Music Classrooms: A Universal Approach ; 20. Music and Wellbeing during Illness ; 21. Adolescent Music Is Not Problematic ; SECTION 4: SKILLS ; 22. Playing an instrument ; 23. Building performance confidence ; 24. Singing and vocal development ; 25. Musical play ; 26. The Individual and Social Worlds of Children's Musical Creativities ; 27. Computer-Based Technology ; SECTION 5: CONTEXTS ; 28. Historical Perspectives ; 29. Child as Musical Apprentice ; 30. Global Practices ; 31. Transcultural Childhoods ; 32. My Voice is Important Too: Non-formal Music Experiences and Young People ; 33. Transformative Music Engagement and Musical Flourishing ; 34. The transition from adolescent to adult music learner ; 35. Fostering lifelong engagement in music