Vocal, Instrumental, and Ensemble Learning and Teaching

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jørgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternström, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy

Gary E. McPherson studied music education at the Sydney Conservatorium of Music, before completing a master of music education at Indiana University, a doctorate of philosophy at the University of Sydney, and a Licentiate and Fellowship in trumpet performance through Trinity College, London. He is the Ormond Professor and Director of the Melbourne Conservatorium of Music at the University of Melbourne, and has served as National President of the Australian Society for Music Education and President of the International Society for Music Education. 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. Graham F. Welch holds the University College London (UCL) Institute of Education Established Chair of Music Education. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE), a former President of the International Society for Music Education (ISME), and past co-chair of the Research Commission of ISME. Current Visiting Professorships include the Universities of Queensland (Australia), Guildhall School of Music and Drama, and Liverpool (UK). He is an ex-member of the UK Arts and Humanities Research Council's (AHRC) Review College for music and has been a specialist consultant for Government departments and agencies in the UK, Italy, Sweden, USA, Ukraine, UAE, South Africa and Argentina. Publications number over three hundred and fifty and embrace musical development and music education, teacher education, the psychology of music, singing and voice science, and music in special education and disability. Publications are in English, Spanish, Portuguese, Italian, Swedish, Greek, Japanese and Chinese.

Part 1Vocal and Choral MusicPart Editor: John NixChapter 1. Commentary: Vocal and choral music?John NixChapter 2. Solo voice pedagogy?Jean Callaghan, Shirlee Emmons, and Lisa PopeilChapter 3. Group and ensemble vocal music?Sten Ternström, Harald Jers, and John NixChapter 4. The young singer?Ken Phillips, Jenevora Williams, and Robert EdwinChapter 5. The older singer?Robert T. Sataloff and Jane DavidsonChapter 6. Voice health and vocal education?John Nix and Nelson Roy
Part 2 Instrumental MusicPart Editor: Susan HallamChapter 7. Commentary: Instrumental music?Susan HallamChapter 8. Processes of instrumental learning: The development of musical expertise?Susan Hallam and Alfredo BautistaChapter 9. Practice?Andreas C. Lehmann and Harald JørgensenChapter 10. The changing face of individual instrumental tuition: Value, purpose and potential?Andrea Creech and Helena GauntChapter 11. Building musicianship in the instrumental classroom?Robert A. Duke and James L. ByoChapter 12. Psychological and physiological aspects of learning to perform?Ioulia Papageorgi and Reinhard KopiezChapter 13. Musical instrument learning, music ensembles, and musicianship in a global and digital age?Michael Webb and Frederick A. SeddonChapter 14. The role of bodily movement in learning and performing music: Applications for education?Jane DavidsonPart 3 EnsemblesPart Editor: Jere T. HumphreysChapter 15. Commentary: Ensembles?Jere T. HumphreysChapter 16. The sociology and policy of ensembles?John W. RichmondChapter 17. North American school ensembles?William R. Lee with Michael D. WorthyChapter 18. Once from the top: Reframing the role of the conductor in ensemble teaching?Steven J. Morrison and Steven M. DemorestChapter 19. Community music ensemblesDon D. Coffman and Lee HigginsChapter 20. Youth orchestras?Margaret KartomiChapter 21. Popular music ensembles?Carlos Xavier RodriguezChapter 22. Pathways to learning and teaching indigenous and world music ensembles?Robert Burke and Sam Evans