Full Description
The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53 chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.
Contents
Introduction: Gary E. McPherson
Section 1: Development and Learning - Section Editor Gary E. McPherson
1. The origins of musical expertise: Alexander P. Burgoyne, David Z. Hambrick & Lauren Julius Harris
2. Musical potential, giftedness and talent development: Gary E. McPherson, Jennifer Blackwell & Sue Hallam
3. Readiness for learning to perform: Jennifer Blackwell (& Gary E. McPherson
4. Talent development in music: Daniel Müllensiefen; Aaron Kozbelt; Paula M. Olszewski-Kubilius; Rena Subotnik; Frank Worrell; & Franzis Preckel
5. Self-directed learning strategies: Self-directed learning strategies: Kelly A. Parkes
6. High impact teaching mindframes: Gary E. McPherson & John Hattie
Section 2: Proficiencies - Section Editor Peter Miksza
7. Practice: Peter Miksza
8. Playing by ear: Warren Haston & Gary E. McPherson
9. Sight-reading: Katie Zhukov & Gary E. McPherson
10. Improvisation: Raymond MacDonald
11. Memorization: Jane Ginsborg
12. Conducting: Steven Morrison & Brian A. Silvey
13. Musical expression: Emery Schubert
14. Body movement: Jane Davidson
Section 3: Performance Practices - Section Editor Jane Davidson
15. Performance practices for Baroque and Classical repertoire: Dorottya Fabian
16. Performance practices for Romantic and Modern repertoire: Neal Peres Da Costa (
17. New music: Performance institutions and practices: Ian Pace
18. Emotion and performance practices: Stephanie Rocke, Jane Davidson & Frederic Kiernan
19. Musical creativity in performance: Dylan van der Schyff & Andrea Schiavio
20. Performing in the studio: Mark Slater
21. Diversity, inclusion and empowerment: Tawnya Smith & Karin Hendricks
Section 4: Psychology - Section Editor Paul Evans
22. Self-regulated learning music microanalysis: Gary E. McPherson
23. Self-determination theory: Paul Evans & Richard Ryan
24. Personality and individual differences: Emese Hruska & Arielle Bonneville-Roussy
25. Buoyancy, resilience, and adaptability: Andrew Martin & Paul Evans
26. Identity and the performing musician: Jane Oakland & Raymond MacDonald
27. Synesthesia and music performance: Solange Glasser
Index
