The Oxford handbook of music performance. Volume 1 : development and learning, proficiencies, performance practices, and psychology

The two-volume 'Oxford Handbook of Music Performance' provides the most comprehensive and authoritative resource for musicians, educators and scholars currently available. It is aimed primarily for practicing musicians, particularly those who are preparing for a professional career as performers and are interested in practical implications of psychological and scientific research for their own music performance development; educators with a specific interest or expertise in music psychology, who will wish to apply the concepts and techniques surveyed in their own teaching; undergraduate and postgraduate students who understand the potential of music psychology for informing music education; and researchers in the area of music performance who consider it important for the results of their research to be practically useful for musicians and music educators. 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. 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. "Volume 1 of the Oxford Handbook of Music Performance is designed around four distinct sections : Development and Learning, Proficiencies, Performance Practices, and Psychology. Chapters cover a range of topics dealing with musical development, talent development, and chapters dealing with learning strategies from a self-directed student learning perspective and high impact teaching mindframes. Essential proficiencies include coverage of effective practice habits, through to the abilities of being able to play by ear, sight-read, improvise, memorize repertoire, and conduct and chapters that detail the highly personalized forms of musical expression that go beyond the printed notation or stylistic convention of the repertoire being performed. Chapters within the Performance Practices section cover some of the most fundamental aspects of performance practices from Baroque through to New Music repertoire and include chapters dealing with how emotions might be generated as a form of historically informed performance practice, and how creativity unfolds in the real-time dynamics of musical performance. The Psychology section concerns characteristics and individual differences in human behavior, cognition, emotion, and wellness. Across chapters in this section, several common threads and themes are evident: Our relationships with music itself and what it means to become and to be a musician, the tensions that can arise between the joy of music and the hard work required to develop musical skills, and the intimate connection between music performance and our social and emotional lives"-- Provided by publisher "Volume 1 of the Oxford Handbook of Music Performance is designed around four distinct sections : Development and Learning, Proficiencies, Performance Practices, and Psychology. Chapters cover a range of topics dealing with musical development, talent development, and chapters dealing with learning strategies from a self-directed student learning perspective and high impact teaching mindframes. Essential proficiencies include coverage of effective practice habits, through to the abilities of being able to play by ear, sight-read, improvise, memorize repertoire, and conduct and chapters that detail the highly personalized forms of musical expression that go beyond the printed notation or stylistic convention of the repetoire being performed. Chapters within the Performance Practices section cover some of the most fundamental aspects of performance practices from Baroque through to New Music repertoire and include chapters dealing with how emotions might be generated as a form of historically informed performance practice, and how creativity unfolds in the real-time dynamics of musical performance. The Psychology section concerns characteristics and individual differences in human behavior, cognition, emotion, and wellness. Across chapters in this section, several common threads and themes are evident: Our relationships with music itself and what it means to become and to be a musician, the tensions that can arise between the joy of music and the hard work required to develop musical skills, and the intimate connection between music performance and our social and emotional lives."-- Site de l'éditeur Cover The Oxford Handbook of Music Performance Copyright Contents Acknowledgments List of Contributors 1. Contextualizing the Study of Music Performance Part I Development and Learning—​ Part Editor Gary E. McPherson 2. The Origins of Musical Expertise 3. Musical Potential, Giftedness, and Talent Development 4. Readiness for Learning to Perform Music 5. Talent Development in Music 6. Self-​Directed Learning Strategies 7. High-​Impact Teaching Mindframes Part II Proficiencies—​Part Editor Peter Miksza 8. Practice 9. Playing by Ear 10. Sight-​Reading 11. Improvisation 12. Memorization 13. Conducting 14. Musical Expression 15. Body Movement Part III Performance Practices—​ Part Editor Jane W. Davidson 16. Performance Practices for Baroque and Classical Repertoire 17. Performance Practices for Romantic and Modern Repertoire 18. New Music: Performance Institutions and Practices 19. Emotion and Performance Practices 20. Musical Creativity in Performance 21. Performing in the Studio 22. Diversity, Inclusion, and Access Part IV Psychology—​ Part Editor Paul Evans 23. Self-​Regulated Learning Music Microanalysis 24. Intrinsic and Extrinsic Motivations for Music Performance 25. Personality and Individual Differences 26. Buoyancy, Resilience, and Adaptability 27. Identity and the Performing Musician 28. Synesthesia and Music Performance Index