Oxford Handbook of Music Performance, Volume 2

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.

Gary E. McPherson is the Ormond Professor of Music at the Melbourne Conservatorium of Music, the University of Melbourne, Australia. His research interests are broad and his approach interdisciplinary. His most important research examines the acquisition and development of musical competence, and motivation to engage and participate in music from novice to expert levels. With a particular interest in the acquisition of visual, aural and creative performance skills, he has attempted to understand more precisely how music students become sufficiently motivated and self-regulated to achieve at the highest level. Gary has published over 250 articles and book chapters and co-authored, co-edited or edited 14 books for OUP, including The Child as Musician, Musical Prodigies: Interpretations from Psychology, Education, Musicology and Ethnomusicology, and The Oxford Handbook of Music Education.

- Section 5: Enhancements - Section Editor Reinhard Kopiez - 1. The Feldenkrais method: Stephen Paparo - 2. The Alexander technique: Elizabeth Valentine, Judith Kleinman and Peter Buckoke - 3. Peak performance: Johannes Hatfield, Glyn Roberts, and Pierre-Nicolas Lemyre - 4. Mindfulness: Frank Diaz - 5. Stage behaviour, impression management and charisma: Friedrich Platz and Reinhard Kopiez - 6. Enhancing music performance appraisal: Gary E. McPherson and Emery Schubert - 7. Creating sustainable performance careers: Dawn Bennett and Karen Burland - Section 6: Health and Wellbeing - Section Editor Eckart Altenmüller - 8. Brain mechanisms of musical learning and performing: Eckart Altenmüller - 9. Musical activities in people with disabilities: Maria Schuppert and Eckart Altenmüller - 10. Performance anxiety: Margaret Osborne and Jennifer Kirsner - 11. Diseases and health risks in instrumentalists: Claudia Spahn - 12. Hearing and voice: Bernard Richter - 13. Promoting health related lifestyle: Liliana S. Araújo and Claudia Spahn - Section 7: Science - Section Editor Jim Woodhouse - 14. Winds: Joe Wolfe - 15. String instruments - plucked: Jim Woodhouse - 16. String instruments - bowed: Jim Woodhouse - 17. Piano: Richard Parncutt and Werner Goebl - 18. Solo voice: Graham Welch - 19. Vocal ensembles: Sten Ternström and Harald Jers - 20. Instrumental ensembles: Laura Bishop and Peter Keller - 21. Electronic instruments: Chris Chafe - 22. Motion capture of music performances: Marcelo M. Wanderley; - Section 8: Innovations - Section Editor Aaron Williamon - Technological Innovations - 23. Synchronous online learning, teaching, and performance: Tania Lisboa, Pétur Jónasson and Carol Johnson - 24. Technology enhanced learning of performance: Rafael Ramirez and George Waddell - Social and Wellbeing Innovations - 25. Interdisciplinary experiential learning: Terry Clark and Aaron Williamon - 26. Re-thinking musicians' wellbeing: Sara Ascenso, Antonella Delle Fav), Aaron Williamon and Rosie Perkins - Index