Gary E. McPherson is Ormond Chair and Director of the Melbourne Conservatorium of Music, University of Melbourne. He is editor of The Science and Psychology of Music Performance (OUP, 2002, with Richard Parncutt) and The Child as Musician: A Handbook of Musical Development (2006).Graham Welch is Chair of Music Education at the Institute of Education, University of London and Deputy Dean of the Institute's Faculty of Culture and Pedagogy. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE) and President of the International Society for Music Education (ISME). His publications number over two hundred and embrace musical development and music education, teacher education, the psychology of music, singing and voice science and music in special education and disability.

This comprehensive handbook is the ultimate reference for those interested in music education ... The format is superb; each part or topic is outlined in the table of contents, and each chapter includes an overview, graphs and charts (if applicable), reflective questions, the key source, and detailed references ...The editor's work is excellent.

• Handbook Preface ; Acknowledgments ; External referees ; Section 1: Music education and the role of music in people's lives ; Section Editor: Graham F. Welch and Gary E. McPherson ; Chapter 1: introduction and commentary: Music education and the role of music in people's lives ; Graham F. Welch and Gary E. McPherson ; Chapter 2: Music's place in education ; Wayne Bowman ; Chapter 3: International perspectives ; Marie McCarthy ; Chapter 4: A philosophy of music education ; David J. Elliott ; Chapter 5: Cultural diversity: Beyond 'songs from every land' ; Huib Schippers and Patricia Shehan Campbell ; Chapter 6: Some contributions of ethnomusicology ; Bruno Nettl ; Chapter 7: Musical identities mediate musical development ; David J. Hargreaves, Raymond MacDonald and Dorothy Miell ; Chapter 8: Supporting motivation in music education ; Authors: James M. Renwick and Johnmarshall Reeve ; Chapter 9: Becoming a music learner: Towards a theory of transformative music engagement ; Susan A. O'Neill ; Chapter 10: Initiating music programs in new contexts: In search of a democratic music education ; Graca Mota and Sergio Figueiredo ; Chapter 11: Implications of neurosciences and brain research for music teaching and learning ; Donald Hodges and Wilfried Gruhn ; Section 2: Music learning and teaching in infancy and early childhood ; Section Editor: Margaret Barrett ; Chapter 12: Commentary: Music learning and teaching in infancy and early childhood ; Margaret S. Barrett ; Chapter 13: Musical lives of infants ; Mayumi Adachi (Japan) and Sandra E. Trehub ; Chapter 14: Musicality and musical culture: Sharing narratives of sound from early childhood ; Colwyn Trevarthen and Stephen Malloch ; Chapter 15: Music and language in early childhood development and learning ; Lily Chen-Hafteck and Esther Mang ; Chapter 16: Musical participation from birth to three: Towards a global perspective ; Susan Young and Beatriz Ilari ; Chapter 16: Creative meaning-making in infants' and young children's musical cultures ; Margaret S. Barrett and Johannella Tafuri ; Section 3: Music learning and teaching during childhood: Ages 5-12 ; Section Editor: Kathryn Marsh ; Chapter 17: Commentary: Music learning and teaching during childhood: Ages 5-12 ; Kathryn Marsh ; Chapter 18: Children's ways of learning inside and outside the classroom ; Eve Harwood and Kathryn Marsh ; Chapter 19: Creating in music learning contexts ; Jackie Wiggins and Magne Espeland ; Chapter 20: Meaningful connections in a comprehensive approach to the music curriculum ; Janet R. Barrett and Kari K. Veblen ; Chapter 21: Multiple worlds of childhood: Culture and the classroom ; Chee-Hoo Lum and Kathryn Marsh ; Chapter 22: Music education in the generalist classroom ; Neryl Jeanneret and George DeGraffenreid ; Chapter 23: Instrumental ensemble learning and performance in primary school ; Sharon G. Davis (USA) ; Section 4: Music learning and teaching during adolescence: Ages 12-18 ; Section Editor: Oscar Odena and Gary Spruce ; Chapter 24: Commentary: Music learning and teaching during adolescence: Ages 12-18 ; Gary Spruce and Oscar Odena ; Chapter 25: Teaching, learning and curriculum content ; Chris Philpott and Ruth Wright ; Chapter 26: Youth culture and secondary education ; Randall Everett Allsup, Heidi Westerlund and Eric Shieh ; Chapter 27: Assessment in the secondary music classroom ; Martin Fautley and Richard Colwell ; Chapter 28: The community music facilitator and school music education ; Lee Higgins and Brydie-Leigh Bartleet ; Chapter 29: Creativity in the secondary music classroom ; Oscar Odena ; Chapter 30: Technology in the lives and schools of adolescents ; S. Alex Ruthmann and Steven C. Dillon ; Section 5: Vocal and Choral Music ; Section Editor: John Nix ; Chapter 31: Commentary: Vocal and choral music ; John Nix ; Chapter 32: Solo voice pedagogy ; Jean Callaghan, Shirlee Emmons and Lisa Popeil ; Chapter 33: Group and ensemble vocal music ; Sten Ternstrom, Harald Jers and John Nix ; Chapter 34: The young singer ; Ken Phillips , Jenevora Williams and Robert Edwin ; Chapter 35: The older singer ; Robert T. Sataloff and Jane Davidson ; Chapter 36: Voice health and vocal education ; John Nix and Nelson Roy ; Section 6: Instrumental Music ; Section Editor - Susan Hallam ; Chapter 37: Commentary: Instrumental music ; Susan Hallam ; Chapter 38: Processes of instrumental learning: The development of musical expertise ; Susan Hallam and Alfredo Bautista ; Chapter 39: Practice ; Andreas C. Lehmann and Harald Jorgensen ; Chapter 40: The changing face of individual instrumental tuition: Value, purpose and potential ; Andrea Creech and Helena Gaunt ; Chapter 41: Building musicianship in the instrumental classroom ; Robert A. Duke and James L. Byo ; Chapter 42: Psychological and physiological aspects of learning to perform ; Ioulia Papageorgi and Reinhard Kopiez ; Chapter 43: Musical instrument learning, music ensembles, and musicianship in a global and digital age ; Frederick Seddon and Michael Webb ; Chapter 44: The role of bodily movement in learning and performing music: Applications for education ; Jane Davidson ; Section 7: Ensembles ; Section Editor - Jere T. Humphreys ; Chapter 45: Commentary: Ensembles ; Jere T. Humphreys ; Chapter 46: The sociology and policy of ensembles ; John W. Richmond ; Chapter 47: North American school ensembles ; William R. Lee with Michael D. Worthy ; Chapter 48: Once from the top: Reframing the role of the conductor in ensemble teaching ; Steven J. Morrison and Steven M. Demorest ; Chapter 49: Community music ensembles ; Don Coffman and Lee Higgins ; Chapter 50: Youth orchestras ; Margaret Kartomi ; Chapter 51: Popular music ensembles ; Carlos Xavier Rodriguez ; Chapter 52: Pathways to learning and teaching Indigenous and World Music ensembles ; Robert Burke and Sam Evans

Gary E. McPherson is Ormond Chair and Director of the Melbourne Conservatorium of Music, University of Melbourne. He is editor of The Science and Psychology of Music Performance (OUP, 2002, with Richard Parncutt) and The Child as Musician: A Handbook of Musical Development (2006).Graham Welch is Chair of Music Education at the Institute of Education, University of London and Deputy Dean of the Institute's Faculty of Culture and Pedagogy. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE) and President of the International Society for Music Education (ISME). His publications number over two hundred and embrace musical development and music education, teacher education, the psychology of music, singing and voice science and music in special education and disability.

This comprehensive handbook is the ultimate reference for those interested in music education ... The format is superb; each part or topic is outlined in the table of contents, and each chapter includes an overview, graphs and charts (if applicable), reflective questions, the key source, and detailed references ...The editor's work is excellent.

• Handbook Preface ; Acknowledgments ; External referees ; Section 1: Music education and the role of music in people's lives ; Section Editor: Graham F. Welch and Gary E. McPherson ; Chapter 1: introduction and commentary: Music education and the role of music in people's lives ; Graham F. Welch and Gary E. McPherson ; Chapter 2: Music's place in education ; Wayne Bowman ; Chapter 3: International perspectives ; Marie McCarthy ; Chapter 4: A philosophy of music education ; David J. Elliott ; Chapter 5: Cultural diversity: Beyond 'songs from every land' ; Huib Schippers and Patricia Shehan Campbell ; Chapter 6: Some contributions of ethnomusicology ; Bruno Nettl ; Chapter 7: Musical identities mediate musical development ; David J. Hargreaves, Raymond MacDonald and Dorothy Miell ; Chapter 8: Supporting motivation in music education ; Authors: James M. Renwick and Johnmarshall Reeve ; Chapter 9: Becoming a music learner: Towards a theory of transformative music engagement ; Susan A. O'Neill ; Chapter 10: Initiating music programs in new contexts: In search of a democratic music education ; Graca Mota and Sergio Figueiredo ; Chapter 11: Implications of neurosciences and brain research for music teaching and learning ; Donald Hodges and Wilfried Gruhn ; Section 2: Music learning and teaching in infancy and early childhood ; Section Editor: Margaret Barrett ; Chapter 12: Commentary: Music learning and teaching in infancy and early childhood ; Margaret S. Barrett ; Chapter 13: Musical lives of infants ; Mayumi Adachi (Japan) and Sandra E. Trehub ; Chapter 14: Musicality and musical culture: Sharing narratives of sound from early childhood ; Colwyn Trevarthen and Stephen Malloch ; Chapter 15: Music and language in early childhood development and learning ; Lily Chen-Hafteck and Esther Mang ; Chapter 16: Musical participation from birth to three: Towards a global perspective ; Susan Young and Beatriz Ilari ; Chapter 16: Creative meaning-making in infants' and young children's musical cultures ; Margaret S. Barrett and Johannella Tafuri ; Section 3: Music learning and teaching during childhood: Ages 5-12 ; Section Editor: Kathryn Marsh ; Chapter 17: Commentary: Music learning and teaching during childhood: Ages 5-12 ; Kathryn Marsh ; Chapter 18: Children's ways of learning inside and outside the classroom ; Eve Harwood and Kathryn Marsh ; Chapter 19: Creating in music learning contexts ; Jackie Wiggins and Magne Espeland ; Chapter 20: Meaningful connections in a comprehensive approach to the music curriculum ; Janet R. Barrett and Kari K. Veblen ; Chapter 21: Multiple worlds of childhood: Culture and the classroom ; Chee-Hoo Lum and Kathryn Marsh ; Chapter 22: Music education in the generalist classroom ; Neryl Jeanneret and George DeGraffenreid ; Chapter 23: Instrumental ensemble learning and performance in primary school ; Sharon G. Davis (USA) ; Section 4: Music learning and teaching during adolescence: Ages 12-18 ; Section Editor: Oscar Odena and Gary Spruce ; Chapter 24: Commentary: Music learning and teaching during adolescence: Ages 12-18 ; Gary Spruce and Oscar Odena ; Chapter 25: Teaching, learning and curriculum content ; Chris Philpott and Ruth Wright ; Chapter 26: Youth culture and secondary education ; Randall Everett Allsup, Heidi Westerlund and Eric Shieh ; Chapter 27: Assessment in the secondary music classroom ; Martin Fautley and Richard Colwell ; Chapter 28: The community music facilitator and school music education ; Lee Higgins and Brydie-Leigh Bartleet ; Chapter 29: Creativity in the secondary music classroom ; Oscar Odena ; Chapter 30: Technology in the lives and schools of adolescents ; S. Alex Ruthmann and Steven C. Dillon ; Section 5: Vocal and Choral Music ; Section Editor: John Nix ; Chapter 31: Commentary: Vocal and choral music ; John Nix ; Chapter 32: Solo voice pedagogy ; Jean Callaghan, Shirlee Emmons and Lisa Popeil ; Chapter 33: Group and ensemble vocal music ; Sten Ternstrom, Harald Jers and John Nix ; Chapter 34: The young singer ; Ken Phillips , Jenevora Williams and Robert Edwin ; Chapter 35: The older singer ; Robert T. Sataloff and Jane Davidson ; Chapter 36: Voice health and vocal education ; John Nix and Nelson Roy ; Section 6: Instrumental Music ; Section Editor - Susan Hallam ; Chapter 37: Commentary: Instrumental music ; Susan Hallam ; Chapter 38: Processes of instrumental learning: The development of musical expertise ; Susan Hallam and Alfredo Bautista ; Chapter 39: Practice ; Andreas C. Lehmann and Harald Jorgensen ; Chapter 40: The changing face of individual instrumental tuition: Value, purpose and potential ; Andrea Creech and Helena Gaunt ; Chapter 41: Building musicianship in the instrumental classroom ; Robert A. Duke and James L. Byo ; Chapter 42: Psychological and physiological aspects of learning to perform ; Ioulia Papageorgi and Reinhard Kopiez ; Chapter 43: Musical instrument learning, music ensembles, and musicianship in a global and digital age ; Frederick Seddon and Michael Webb ; Chapter 44: The role of bodily movement in learning and performing music: Applications for education ; Jane Davidson ; Section 7: Ensembles ; Section Editor - Jere T. Humphreys ; Chapter 45: Commentary: Ensembles ; Jere T. Humphreys ; Chapter 46: The sociology and policy of ensembles ; John W. Richmond ; Chapter 47: North American school ensembles ; William R. Lee with Michael D. Worthy ; Chapter 48: Once from the top: Reframing the role of the conductor in ensemble teaching ; Steven J. Morrison and Steven M. Demorest ; Chapter 49: Community music ensembles ; Don Coffman and Lee Higgins ; Chapter 50: Youth orchestras ; Margaret Kartomi ; Chapter 51: Popular music ensembles ; Carlos Xavier Rodriguez ; Chapter 52: Pathways to learning and teaching Indigenous and World Music ensembles ; Robert Burke and Sam Evans

Gary E. McPherson is Ormond Chair and Director of the Melbourne Conservatorium of Music, University of Melbourne. He is editor of The Science and Psychology of Music Performance (OUP, 2002, with Richard Parncutt) and The Child as Musician: A Handbook of Musical Development (2006).Graham Welch is Chair of Music Education at the Institute of Education, University of London and Deputy Dean of the Institute's Faculty of Culture and Pedagogy. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE) and President of the International Society for Music Education (ISME). His publications number over two hundred and embrace musical development and music education, teacher education, the psychology of music, singing and voice science and music in special education and disability.

This comprehensive handbook is the ultimate reference for those interested in music education ... The format is superb; each part or topic is outlined in the table of contents, and each chapter includes an overview, graphs and charts (if applicable), reflective questions, the key source, and detailed references ...The editor's work is excellent.

• Handbook Preface ; Acknowledgments ; External referees ; Section 1: Music education and the role of music in people's lives ; Section Editor: Graham F. Welch and Gary E. McPherson ; Chapter 1: introduction and commentary: Music education and the role of music in people's lives ; Graham F. Welch and Gary E. McPherson ; Chapter 2: Music's place in education ; Wayne Bowman ; Chapter 3: International perspectives ; Marie McCarthy ; Chapter 4: A philosophy of music education ; David J. Elliott ; Chapter 5: Cultural diversity: Beyond 'songs from every land' ; Huib Schippers and Patricia Shehan Campbell ; Chapter 6: Some contributions of ethnomusicology ; Bruno Nettl ; Chapter 7: Musical identities mediate musical development ; David J. Hargreaves, Raymond MacDonald and Dorothy Miell ; Chapter 8: Supporting motivation in music education ; Authors: James M. Renwick and Johnmarshall Reeve ; Chapter 9: Becoming a music learner: Towards a theory of transformative music engagement ; Susan A. O'Neill ; Chapter 10: Initiating music programs in new contexts: In search of a democratic music education ; Graca Mota and Sergio Figueiredo ; Chapter 11: Implications of neurosciences and brain research for music teaching and learning ; Donald Hodges and Wilfried Gruhn ; Section 2: Music learning and teaching in infancy and early childhood ; Section Editor: Margaret Barrett ; Chapter 12: Commentary: Music learning and teaching in infancy and early childhood ; Margaret S. Barrett ; Chapter 13: Musical lives of infants ; Mayumi Adachi (Japan) and Sandra E. Trehub ; Chapter 14: Musicality and musical culture: Sharing narratives of sound from early childhood ; Colwyn Trevarthen and Stephen Malloch ; Chapter 15: Music and language in early childhood development and learning ; Lily Chen-Hafteck and Esther Mang ; Chapter 16: Musical participation from birth to three: Towards a global perspective ; Susan Young and Beatriz Ilari ; Chapter 16: Creative meaning-making in infants' and young children's musical cultures ; Margaret S. Barrett and Johannella Tafuri ; Section 3: Music learning and teaching during childhood: Ages 5-12 ; Section Editor: Kathryn Marsh ; Chapter 17: Commentary: Music learning and teaching during childhood: Ages 5-12 ; Kathryn Marsh ; Chapter 18: Children's ways of learning inside and outside the classroom ; Eve Harwood and Kathryn Marsh ; Chapter 19: Creating in music learning contexts ; Jackie Wiggins and Magne Espeland ; Chapter 20: Meaningful connections in a comprehensive approach to the music curriculum ; Janet R. Barrett and Kari K. Veblen ; Chapter 21: Multiple worlds of childhood: Culture and the classroom ; Chee-Hoo Lum and Kathryn Marsh ; Chapter 22: Music education in the generalist classroom ; Neryl Jeanneret and George DeGraffenreid ; Chapter 23: Instrumental ensemble learning and performance in primary school ; Sharon G. Davis (USA) ; Section 4: Music learning and teaching during adolescence: Ages 12-18 ; Section Editor: Oscar Odena and Gary Spruce ; Chapter 24: Commentary: Music learning and teaching during adolescence: Ages 12-18 ; Gary Spruce and Oscar Odena ; Chapter 25: Teaching, learning and curriculum content ; Chris Philpott and Ruth Wright ; Chapter 26: Youth culture and secondary education ; Randall Everett Allsup, Heidi Westerlund and Eric Shieh ; Chapter 27: Assessment in the secondary music classroom ; Martin Fautley and Richard Colwell ; Chapter 28: The community music facilitator and school music education ; Lee Higgins and Brydie-Leigh Bartleet ; Chapter 29: Creativity in the secondary music classroom ; Oscar Odena ; Chapter 30: Technology in the lives and schools of adolescents ; S. Alex Ruthmann and Steven C. Dillon ; Section 5: Vocal and Choral Music ; Section Editor: John Nix ; Chapter 31: Commentary: Vocal and choral music ; John Nix ; Chapter 32: Solo voice pedagogy ; Jean Callaghan, Shirlee Emmons and Lisa Popeil ; Chapter 33: Group and ensemble vocal music ; Sten Ternstrom, Harald Jers and John Nix ; Chapter 34: The young singer ; Ken Phillips , Jenevora Williams and Robert Edwin ; Chapter 35: The older singer ; Robert T. Sataloff and Jane Davidson ; Chapter 36: Voice health and vocal education ; John Nix and Nelson Roy ; Section 6: Instrumental Music ; Section Editor - Susan Hallam ; Chapter 37: Commentary: Instrumental music ; Susan Hallam ; Chapter 38: Processes of instrumental learning: The development of musical expertise ; Susan Hallam and Alfredo Bautista ; Chapter 39: Practice ; Andreas C. Lehmann and Harald Jorgensen ; Chapter 40: The changing face of individual instrumental tuition: Value, purpose and potential ; Andrea Creech and Helena Gaunt ; Chapter 41: Building musicianship in the instrumental classroom ; Robert A. Duke and James L. Byo ; Chapter 42: Psychological and physiological aspects of learning to perform ; Ioulia Papageorgi and Reinhard Kopiez ; Chapter 43: Musical instrument learning, music ensembles, and musicianship in a global and digital age ; Frederick Seddon and Michael Webb ; Chapter 44: The role of bodily movement in learning and performing music: Applications for education ; Jane Davidson ; Section 7: Ensembles ; Section Editor - Jere T. Humphreys ; Chapter 45: Commentary: Ensembles ; Jere T. Humphreys ; Chapter 46: The sociology and policy of ensembles ; John W. Richmond ; Chapter 47: North American school ensembles ; William R. Lee with Michael D. Worthy ; Chapter 48: Once from the top: Reframing the role of the conductor in ensemble teaching ; Steven J. Morrison and Steven M. Demorest ; Chapter 49: Community music ensembles ; Don Coffman and Lee Higgins ; Chapter 50: Youth orchestras ; Margaret Kartomi ; Chapter 51: Popular music ensembles ; Carlos Xavier Rodriguez ; Chapter 52: Pathways to learning and teaching Indigenous and World Music ensembles ; Robert Burke and Sam Evans