Adam Ockelford – författare

There are around 40,000 children and young people in the UK alone with severe or profound and multiple learning difficulties, in special schools and in mainstream education. Research has indicated that provision is at best patchy, despite the widely held belief that music is beneficial, both in its own right and to promote wider development. This book seeks to foster progress in what is still a young discipline by reflecting on contemporary thinking and practice, identifying key issues, introducing recent and ongoing research, and providing practical advice for practitioners including teachers, therapists, and community musicians.

Although research in music psychology, education and therapy has expanded exponentially in the 21st century, there is something of a 'black hole' around which much of the discourse circles: music itself. While writers have largely been occupied with what people think about musical engagement, the little musical analysis that exists has tended to be at a low level compared to the sophisticated non-musical exploration that is present. This highlights the tenuous connection between musical enquiry in the context of the humanities and that occurring within the social sciences, the one exception being the partial intersection of music theory and psychology. Here, however, progress has largely been in one direction, with something of the objectivity that characterizes psychological research reading across to music analysis, and taking the form of what has been called 'empirical musicology'. 'Applied Musicology' takes a further, reciprocal step, in which certain of the techniques of empirical musicology (in particular, the author's 'zygonic' theory) are used to inform thinking in the domains of music-psychological, educational and therapeutic research. Within the book, the authors sketches out a new, interdisciplinary sphere of endeavour, for which the term 'applied musicology' is coined. The book adopts a phenomenological, inductive approach, using the analysis of hundreds of real-life examples of musical engagement and interaction in order to build new theories of musical intentionality and influence, and to shed new light on our understanding of aspects of music perception and cognition. Intended for those in the fields of music psychology, music education, and musicology, Applied Musicology will lay the foundations upon which a new category of interdisciplinary work will be built.

This innovative resource sets out simple, everyday activities that use music and sound to enrich the lives of young adults with profound and multiple learning disabilities. Each colourful card presents ideas that parents and others can do with the young person in their care, at home and when out and about. Activities are based on the Sounds of Intent framework of musical development –www.soundsofintent.org – and structured to promote an evolving sense of self, engagement with others, and an awareness of the wider world. A QR code on each card connects to specially created audio and visual materials that can be found on the Soundabout website – soundaboutfamily.org.uk Features that make this an essential resource include:• 48 cards that set out over 200 activities involving sound and music in an accessible way, with no special skills or knowledge needed • Access to audio files, the pioneering ‘Soundabout Music Tracks’, that make music truly accessible to people with the most profound disabilitiesCreated by Soundabout, a UK-wide charity whose mission is to empower people with profound and multiple learning difficulties through music, Soundabout Life is a unique resource that will enhance the lives of all learning disabled young people aged 16–25 in the UK and beyond. Intended for use in educational settings and/or therapy contexts under the supervision of an adult. This is not a toy.

This innovative resource sets out simple, everyday activities that use music and sound to enrich the lives of young children with profound and multiple learning disabilities. Each colourful card presents ideas that parents and others can do with the child in their care, at home and when out and about.Activities are based on the Sounds of Intent framework of musical development – www.soundsofintent.org – and structured to promote an evolving sense of self, engagement with others, and an awareness of the wider world. A QR code on each card connects to specially created audio and visual materials that can be found on the Soundabout website – www.soundaboutfamily.org.uk.Features that make this an essential resource include: 48 cards that set out over 200 activities involving sound and music in an accessible way, with no special skills or knowledge needed Access to audio files, the pioneering ‘Soundabout Music Tracks’, that make music truly accessible to people with the most profound disabilitiesCreated by Soundabout, a UK-wide charity whose mission is to empower people with profound and multiple learning difficulties through music, Little Soundabout is a unique resource that will enhance the lives of all learning-disabled young children aged 0–5 in the UK and beyond. Intended for use in educational settings and/or therapy contexts under the supervision of an adult. This is not a toy.

This monograph examines the place of repetition in perceived musical structure and in theories of music. Following a preface and introduction, there are four main chapters: 'Theory', 'Analysis', 'Metatheory and Meta-analysis', and 'Cognition and Metacognition'. Chapter 2 (Theory) sets out the principles underlying the creation and cognition of musical structure developed by the author in earlier studies, in the dual context of David Lewin's mathematically based theory of musical intervals and transformations and Gilles Fauconnier's concept of mental spaces (which was formulated in the context of cognitive science). Chapter 3 (Analysis) shows the theory in operation in relation to the first movement of Mozart's piano sonata K.333. It indicates how structural issues may be related to considerations of aesthetic response and musical 'worth' through comparison with J.C. Bach's Sonata op. 5 no. 3. Chapter 4 (Metatheory and Meta-analysis) uses the new theory to interrogate the propositions underpinning set theory and transformations, offering a psychomusicological critique and potential development of, for example, the work of Forte, Morris, Isaacson and Straus. This enables issues raised earlier in relation to the work of Lewin to be addressed. In conclusion, in Chapter 5 (Cognition and Metacognition), the matter of cognitive preferences and constraints is considered in relation to repetition in music, which permits a final investigation of different approaches to musical analysis to be undertaken. In summary, by synthesising the findings of diverse earlier work in the context of the new theory, it proves possible to move thinking forward on a number of fronts, and to indicate potential directions for future empirical and analytical developments.

This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.

This engaging, practical resource sets out twelve original projects for making music inclusively with children and young people of all ages who have special abilities or needs, including those with profound and multiple learning difficulties, those on the autism spectrum, those who have a vision or hearing impairment, and those with social, emotional, and mental health needs. Created by leaders in the music and special needs field working with music industry professionals, Count Me In! includes projects with a wide range of musical styles and genres, and there is an accompanying website with hundreds of freely downloadable audio files. The resource is based on the Sounds of Intent framework, which encourages teachers and others to target activities at their pupils’ and students’ particular levels of musical development. The pieces of music are ‘deconstructed’ into separate activities that are individually targeted at sound-makers, pattern-makers, motif-makers and song-makers so that all young people can join in at the same time.Count Me In! is a must-have resource for class teachers, teaching assistants and other non-music-specialist staff supporting children with learning difficulties in special and mainstream schools and colleges, as well as musicians from music services, music hubs and other arts organisations who visit schools. It can be used without needing to be able to read music, though there are scores in simplified and standard notation, as well as chord charts.

This engaging, practical resource sets out twelve original projects for making music inclusively with children and young people of all ages who have special abilities or needs, including those with profound and multiple learning difficulties, those on the autism spectrum, those who have a vision or hearing impairment, and those with social, emotional, and mental health needs. Created by leaders in the music and special needs field working with music industry professionals, Count Me In! includes projects with a wide range of musical styles and genres, and there is an accompanying website with hundreds of freely downloadable audio files. The resource is based on the Sounds of Intent framework, which encourages teachers and others to target activities at their pupils’ and students’ particular levels of musical development. The pieces of music are ‘deconstructed’ into separate activities that are individually targeted at sound-makers, pattern-makers, motif-makers and song-makers so that all young people can join in at the same time.Count Me In! is a must-have resource for class teachers, teaching assistants and other non-music-specialist staff supporting children with learning difficulties in special and mainstream schools and colleges, as well as musicians from music services, music hubs and other arts organisations who visit schools. It can be used without needing to be able to read music, though there are scores in simplified and standard notation, as well as chord charts.

Music is increasingly recognised as being an activity that can be of enormous benefit to those living with dementia. Take Note will help anyone working with older people to find ways of using music effectively, regardless of their musical training or ability.Presented on easy-to-access cards, there are 100 different ideas for using music, each one tried and tested by the authors. Cards include ideas for:Encouraging participants to listen to music and join inUsing music to help achieve particular effects, such as wellbeing and the relief of anxiety, depression and agitationWorking with individuals and groupsEnhancing social engagementImproving memory and communication.The resource is accompanied by a website that illustrates the ideas set out on the cards with videos and musical materials. Take Note is a useful aid for caregivers, music practitioners and therapists working with older people, whether in a care home, a day care centre or in a private home. The cards are also a helpful resource for family members of those with dementia.

This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.

Containing 64 songs designed to promote language, social and musical development, this book accompanies the Tuning In Cards so you can perform the songs and integrate the activities into your own practice. When paired with the Tuning In Cards, it will offer an innovative way of developing communication in children with profound disabilities, visual impairment, and autism.These songs have been developed in line with the Sounds of Intent framework and in collaboration with The Amber Trust. A helpful introduction by the composer describes how to adapt the songs and activities to the appropriate developmental level.

Children with autism often have an intense natural musicality. This book explains how music and language 'work' as systems of communication, and why music holds such a fascination for many young people on the autism spectrum. There are strategies for showing how music can be used to support language development and even substitute for verbal communication. Exploring the progression from a young child's intuitive engagement with music, to using it as a scaffold for communication, socialisation and understanding, the book illustrates, through the use of detailed case studies, how music nurtures a sense of self and provides a positive outlet to express inner thoughts and feelings without resorting to challenging or even destructive behaviours.Presenting an innovative approach to the use of music with people on the autism spectrum, this book will be a fascinating resource for speech and language therapists, music therapists, occupational therapists, teachers, teaching assistants, educational psychologists, carers and parents of people with autism.

How does music work? Indeed, what is (or isn’t) music? We are all instinctively musical, but why? Adam Ockelford has the answers. A tap of the foot, a rush of emotion, the urge to hum a tune; without instruction or training we all respond intuitively to music. Comparing Notes explores what music is, why all of us are musical, and how abstract patterns of sound that might not appear to mean anything can, in fact, be so meaningful. Taking the reader on a clear and compelling tour of major twentieth century musical theories, Professor Adam Ockelford arrives at his own important psychologically grounded theory of how music works. From pitch and rhythm to dynamics and timbre, he shows how all the elements of music cohere through the principle of imitation to create an abstract narrative in sound that we instinctively grasp, whether listening to Bach or the Beatles. Authoritative, engaging, and full of wonderful examples from across the musical spectrum, Comparing Notes is essential reading for anyone who’s ever loved a song, sonata, or symphony, and wondered why.