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.
Table of Contents
Introduction: Gary E. McPhersonSection 1: Development and Learning - Section Editor Gary E. McPherson1. The origins of musical expertise: Alexander P. Burgoyne, David Z. Hambrick & Lauren Julius Harris2. Musical potential, giftedness and talent development: Gary E. McPherson, Jennifer Blackwell & Sue Hallam3. Readiness for learning to perform: Jennifer Blackwell (& Gary E. McPherson4. Talent development in music: Daniel Müllensiefen; Aaron Kozbelt; Paula M. Olszewski-Kubilius; Rena Subotnik; Frank Worrell; & Franzis Preckel5. Self-directed learning strategies: Self-directed learning strategies: Kelly A. Parkes6. High impact teaching mindframes: Gary E. McPherson & John HattieSection 2: Proficiencies - Section Editor Peter Miksza7. Practice: Peter Miksza8. Playing by ear: Warren Haston & Gary E. McPherson9. Sight-reading: Katie Zhukov & Gary E. McPherson10. Improvisation: Raymond MacDonald11. Memorization: Jane Ginsborg12. Conducting: Steven Morrison & Brian A. Silvey13. Musical expression: Emery Schubert14. Body movement: Jane DavidsonSection 3: Performance Practices - Section Editor Jane Davidson15. Performance practices for Baroque and Classical repertoire: Dorottya Fabian16. Performance practices for Romantic and Modern repertoire: Neal Peres Da Costa (17. New music: Performance institutions and practices: Ian Pace18. Emotion and performance practices: Stephanie Rocke, Jane Davidson & Frederic Kiernan19. Musical creativity in performance: Dylan van der Schyff & Andrea Schiavio20. Performing in the studio: Mark Slater21. Diversity, inclusion and empowerment: Tawnya Smith & Karin HendricksSection 4: Psychology - Section Editor Paul Evans22. Self-regulated learning music microanalysis: Gary E. McPherson23. Self-determination theory: Paul Evans & Richard Ryan24. Personality and individual differences: Emese Hruska & Arielle Bonneville-Roussy25. Buoyancy, resilience, and adaptability: Andrew Martin & Paul Evans26. Identity and the performing musician: Jane Oakland & Raymond MacDonald27. Synesthesia and music performance: Solange GlasserIndex
