Edited by Gary E. McPherson and Graham F. Welch
Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the
earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. In this
first of two volumes, an international list of contributors discuss a range of key issues and concepts associated with music learning and teaching.
The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the
school-age years. Exploring how children across the globe learn and make music and the skills and attributes gained when they do so, these chapters examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond
the classroom and into later life. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine the discipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.
Handbook Preface
SC Acknowledgments
SC External referees
Section 1: Music education and the role of music in people's livesGraham F. Welch and Gary E. McPherson:
1. Graham F. Welch and Gary E. McPherson: Introduction and commentary: Music education and the role of music in
people's lives
2. Wayne Bowman: Music's place in education
3. Marie McCarthy: International perspectives
4. David J. Elliott: A philosophy of music education
5. Huib Schippers and Patricia Shehan Campbell: Cultural diversity: Beyond 'songs from every land'
6. Bruno Nettl: Some
contributions of ethnomusicology
7. David J. Hargreaves, Raymond MacDonald and Dorothy Miell: Musical identities mediate musical development
8. James M. Renwick and Johnmarshall Reeve: Supporting motivation in music education
9. Susan A. O'Neill: Becoming a music learner: Towards a
theory of transformative music engagement
10. Graca Mota and Sergio Figueiredo: Initiating music programs in new contexts: In search of a democratic music education
11. Donald Hodges and Wilfried Gruhn: Implications of neurosciences and brain research for music teaching and
learning
Section 2: Music learning and teaching in infancy and early childhoodMargaret Barrett:
12. Margaret S. Barrett: Commentary: Music learning and teaching in infancy and early childhood
13. Mayumi Adachi and Sandra E. Trehub: Musical lives of infants
14. Colwyn
Trevarthen and Stephen Malloch: Musicality and musical culture: Sharing narratives of sound from early childhood
15. Lily Chen-Hafteck and Esther Mang: Music and language in early childhood development and learning
16. Susan Young and Beatriz Ilari: Musical participation from birth to three:
Towards a global perspective
Section 3: Music learning and teaching during childhood: Ages 5-12Kathryn Marsh:
17. Kathryn Marsh: Commentary: Music learning and teaching during childhood: Ages 5-12
18. Eve Harwood and Kathryn Marsh: Children's ways of learning inside and outside
the classroom
19. Jackie Wiggins and Magne Espeland: Creating in music learning contexts
20. Janet R. Barrett and Kari K. Veblen: Meaningful connections in a comprehensive approach to the music curriculum
21. Chee-Hoo Lum and Kathryn Marsh: Multiple worlds of childhood: Culture and the
classroom
22. Neryl Jeanneret and George DeGraffenreid: Music education in the generalist classroom
23. Sharon G. Davis: Instrumental ensemble learning and performance in primary school
Section 4: Music learning and teaching during adolescence: Ages 12-18Oscar Odena and Gary
Spruce:
24. Gary Spruce and Oscar Odena: Commentary: Music learning and teaching during adolescence: Ages 12-18
25. Chris Philpott and Ruth Wright: Teaching, learning and curriculum content
26. Randall Everett Allsup, Heidi Westerlund and Eric Shieh: Youth culture and secondary
education
27. Martin Fautley and Richard Colwell: Assessment in the secondary music classroom
28. Lee Higgins and Brydie-Leigh Bartleet: The community music facilitator and school music education
29. Oscar Odena: Creativity in the secondary music classroom
30. S. Alex Ruthmann and
Steven C. Dillon: Technology in the lives and schools of adolescents
Section 5: Vocal and Choral MusicJohn Nix:
31. John Nix: Commentary: Vocal and choral music
32. Jean Callaghan, Shirlee Emmons and Lisa Popeil: Solo voice pedagogy
33. Sten Ternstrom, Harald Jers and John
Nix: Group and ensemble vocal music
34. Ken Phillips , Jenevora Williams and Robert Edwin: The young singer
35. Robert T. Sataloff and Jane Davidson: The older singer
36. John Nix and Nelson Roy: Voice health and vocal education
Section 6: Instrumental MusicSusan Hallam:
37. Susan Hallam: Commentary: Instrumental music
38. Susan Hallam and Alfredo Bautista: Processes of instrumental learning: The development of musical expertise
39. Andreas C. Lehmann and Harald Jorgensen: Practice
40. Andrea Creech and Helena Gaunt: The changing face of individual
instrumental tuition: Value, purpose and potential
41. Robert A. Duke and James L. Byo: Building musicianship in the instrumental classroom
42. Ioulia Papageorgi and Reinhard Kopiez: Psychological and physiological aspects of learning to perform
43. Frederick Seddon and Michael Webb:
Musical instrument learning, music ensembles, and musicianship in a global and digital age
44. Jane Davidson: The role of bodily movement in learning and performing music: Applications for education
Section 7: EnsemblesJere T. Humphreys:
45. Jere T. Humphreys: Commentary:
Ensembles
46. John W. Richmond: The sociology and policy of ensembles
47. William R. Lee with Michael D. Worthy: North American school ensembles
48. Steven J. Morrison and Steven M. Demorest: Once from the top: Reframing the role of the conductor in ensemble teaching
49. Don Coffman
and Lee Higgins: Community music ensembles
50. Margaret Kartomi: Youth orchestras
51. Carlos Xavier Rodriguez: Popular music ensembles
52. Robert Burke and Sam Evans: Pathways to learning and teaching Indigenous and World Music ensembles
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Gary E. McPherson is Ormond Chair and Director of the Melbourne Conservatorium of Music, University of Melbourne. He is editor of The Science and Psychology of Music Performance (OUP, 2002, with Richard Parncutt) and The Child as Musician: A Handbook of Musical Development (2006). Graham Welch
is Chair of Music Education at the Institute of Education, University of London and Deputy Dean of the Institute's Faculty of Culture and Pedagogy. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE) and President of the International
Society for Music Education (ISME). His publications number over two hundred and embrace musical development and music education, teacher education, the psychology of music, singing and voice science and music in special education and disability.
Making Sense - Margot Northey and Joan McKibbin
