'This is an excellent book that should find its way onto the reading list of anyone interested in the many questions surrounding performance, teaching and listening... a welcome addition to the burgeoning body of research in music psychology. It is a well-crafted book that will engage researchers and practitioners who wish to understand how humans experience music.' Music Educators Journal '... an ambitious collection covering a broad range of topics and methods and providing fascinating glimpses into a variety of research in music psychology, particularly of interest to those involved in higher music education... the book is likely to contain something to capture the interest of every potential reader. It provides a valuable resource and a further collection in the field of applied music psychology, which can only benefit the growth of the discipline.' British Journal of Music Education ’This book offers the music practitioner the practical benefits of the work already done in the fields of music psychology, philosophy and education... this book is well worth dipping into. Much of it will be of interest to singer/teachers.’ Singing

• Contents: Foreword; Introduction, Jane W. Davidson; Part 1 The Practitioner and Research: Psychology and the music practitioner, Aaron Williamon and Sam Thompson; What and why do we need to know about music psychology research to improve music instrument teaching?, Kacper Miklaszewski; The state of play in performance studies, John Rink; A case study of a practical research environment: Sibelius Academy, Helsinki, Kari Kurkela. Part 2 Theory and Experimentation: Understanding Pitches, Tuning and Rhythms: From acoustics to psychology: pitch strength of sounds, Andrzej Rakowski; 'Expressive intonation' in string performance: problems of analysis and interpretation, Peter Johnson; Do compositions reveal information about historical tuning?, Bernhard Billeter; Enrichment of music theory pedagogy by computer-based repertoire analysis and perceptual-cognitive theory, Richard Parncutt; The perceptual space between and within musical rhythm categories, George Papadelis and George Papanikolaou. Part 3 Practitioners Investigating their Daily Work: Making a reflexive turn: practical music-making becomes conventional research, Jane W. Davidson; Singing by heart: memorization strategies for the words and music of songs, Jane Ginsborg; Formal and non-formal music learning amongst rock musicians, Anna-Karin Gullberg and Sture Brändström; Priorities in voice training: carrying power or tone quality, Allan Vurma and Jaan Ross. Part 4 Researching Musician Identity and Perception: Rethinking voice evaluation in singing, António G. Salgado; Assessing vocal performance, Daniela Coimbra and Jane W. Davidson; Starting a music degree at university, Stephanie E. Pitts; Tracing a musical life transition, Karen Burland and Jane W. Davidson; Flawed expertise: exploring the need to overcome the discrepancy between instrumental training and orchestral work - the case of string players, Daina Langner. Part 5 Adopting Innovative Research Approaches: A new method for analysing and representing singing, Stefanie Sadler Elmer and Franz-Josef Elmer; The fears and joys of new forms of investigation into teaching: student evaluation of instrumental teaching, Ingrid Maria Hanken; A role for action research projects in developing new pedagogical approaches to aural and musicianship education, Nicholas Bannan; A new approach to pursuing the professional development of recent graduates from German music academies: the alumni project, Heiner Gembris; What music psychology is telling us about emotions and why it can't yet tell us more: a need for empirical and theoretical innovation, Matthew M. Lavy. Part 6 A Final Note: Musical chills and other delights of music, Jerrold Levinson. Index.

'This is an excellent book that should find its way onto the reading list of anyone interested in the many questions surrounding performance, teaching and listening... a welcome addition to the burgeoning body of research in music psychology. It is a well-crafted book that will engage researchers and practitioners who wish to understand how humans experience music.' Music Educators Journal '... an ambitious collection covering a broad range of topics and methods and providing fascinating glimpses into a variety of research in music psychology, particularly of interest to those involved in higher music education... the book is likely to contain something to capture the interest of every potential reader. It provides a valuable resource and a further collection in the field of applied music psychology, which can only benefit the growth of the discipline.' British Journal of Music Education ’This book offers the music practitioner the practical benefits of the work already done in the fields of music psychology, philosophy and education... this book is well worth dipping into. Much of it will be of interest to singer/teachers.’ Singing

• Contents: Foreword; Introduction, Jane W. Davidson; Part 1 The Practitioner and Research: Psychology and the music practitioner, Aaron Williamon and Sam Thompson; What and why do we need to know about music psychology research to improve music instrument teaching?, Kacper Miklaszewski; The state of play in performance studies, John Rink; A case study of a practical research environment: Sibelius Academy, Helsinki, Kari Kurkela. Part 2 Theory and Experimentation: Understanding Pitches, Tuning and Rhythms: From acoustics to psychology: pitch strength of sounds, Andrzej Rakowski; 'Expressive intonation' in string performance: problems of analysis and interpretation, Peter Johnson; Do compositions reveal information about historical tuning?, Bernhard Billeter; Enrichment of music theory pedagogy by computer-based repertoire analysis and perceptual-cognitive theory, Richard Parncutt; The perceptual space between and within musical rhythm categories, George Papadelis and George Papanikolaou. Part 3 Practitioners Investigating their Daily Work: Making a reflexive turn: practical music-making becomes conventional research, Jane W. Davidson; Singing by heart: memorization strategies for the words and music of songs, Jane Ginsborg; Formal and non-formal music learning amongst rock musicians, Anna-Karin Gullberg and Sture Brändström; Priorities in voice training: carrying power or tone quality, Allan Vurma and Jaan Ross. Part 4 Researching Musician Identity and Perception: Rethinking voice evaluation in singing, António G. Salgado; Assessing vocal performance, Daniela Coimbra and Jane W. Davidson; Starting a music degree at university, Stephanie E. Pitts; Tracing a musical life transition, Karen Burland and Jane W. Davidson; Flawed expertise: exploring the need to overcome the discrepancy between instrumental training and orchestral work - the case of string players, Daina Langner. Part 5 Adopting Innovative Research Approaches: A new method for analysing and representing singing, Stefanie Sadler Elmer and Franz-Josef Elmer; The fears and joys of new forms of investigation into teaching: student evaluation of instrumental teaching, Ingrid Maria Hanken; A role for action research projects in developing new pedagogical approaches to aural and musicianship education, Nicholas Bannan; A new approach to pursuing the professional development of recent graduates from German music academies: the alumni project, Heiner Gembris; What music psychology is telling us about emotions and why it can't yet tell us more: a need for empirical and theoretical innovation, Matthew M. Lavy. Part 6 A Final Note: Musical chills and other delights of music, Jerrold Levinson. Index.

'This is an excellent book that should find its way onto the reading list of anyone interested in the many questions surrounding performance, teaching and listening... a welcome addition to the burgeoning body of research in music psychology. It is a well-crafted book that will engage researchers and practitioners who wish to understand how humans experience music.' Music Educators Journal '... an ambitious collection covering a broad range of topics and methods and providing fascinating glimpses into a variety of research in music psychology, particularly of interest to those involved in higher music education... the book is likely to contain something to capture the interest of every potential reader. It provides a valuable resource and a further collection in the field of applied music psychology, which can only benefit the growth of the discipline.' British Journal of Music Education ’This book offers the music practitioner the practical benefits of the work already done in the fields of music psychology, philosophy and education... this book is well worth dipping into. Much of it will be of interest to singer/teachers.’ Singing

• Contents: Foreword; Introduction, Jane W. Davidson; Part 1 The Practitioner and Research: Psychology and the music practitioner, Aaron Williamon and Sam Thompson; What and why do we need to know about music psychology research to improve music instrument teaching?, Kacper Miklaszewski; The state of play in performance studies, John Rink; A case study of a practical research environment: Sibelius Academy, Helsinki, Kari Kurkela. Part 2 Theory and Experimentation: Understanding Pitches, Tuning and Rhythms: From acoustics to psychology: pitch strength of sounds, Andrzej Rakowski; 'Expressive intonation' in string performance: problems of analysis and interpretation, Peter Johnson; Do compositions reveal information about historical tuning?, Bernhard Billeter; Enrichment of music theory pedagogy by computer-based repertoire analysis and perceptual-cognitive theory, Richard Parncutt; The perceptual space between and within musical rhythm categories, George Papadelis and George Papanikolaou. Part 3 Practitioners Investigating their Daily Work: Making a reflexive turn: practical music-making becomes conventional research, Jane W. Davidson; Singing by heart: memorization strategies for the words and music of songs, Jane Ginsborg; Formal and non-formal music learning amongst rock musicians, Anna-Karin Gullberg and Sture Brändström; Priorities in voice training: carrying power or tone quality, Allan Vurma and Jaan Ross. Part 4 Researching Musician Identity and Perception: Rethinking voice evaluation in singing, António G. Salgado; Assessing vocal performance, Daniela Coimbra and Jane W. Davidson; Starting a music degree at university, Stephanie E. Pitts; Tracing a musical life transition, Karen Burland and Jane W. Davidson; Flawed expertise: exploring the need to overcome the discrepancy between instrumental training and orchestral work - the case of string players, Daina Langner. Part 5 Adopting Innovative Research Approaches: A new method for analysing and representing singing, Stefanie Sadler Elmer and Franz-Josef Elmer; The fears and joys of new forms of investigation into teaching: student evaluation of instrumental teaching, Ingrid Maria Hanken; A role for action research projects in developing new pedagogical approaches to aural and musicianship education, Nicholas Bannan; A new approach to pursuing the professional development of recent graduates from German music academies: the alumni project, Heiner Gembris; What music psychology is telling us about emotions and why it can't yet tell us more: a need for empirical and theoretical innovation, Matthew M. Lavy. Part 6 A Final Note: Musical chills and other delights of music, Jerrold Levinson. Index.