Melbourne Conservatorium of Music - Research Publications
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ItemNo Preview AvailableWorking with Families: Emerging Characteristics(Jessica Kingsley Publishers, 2016)
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ItemPlaying an Instrument(Oxford University Press, 2016)Learning to play a musical instrument is one of the most widespread musical activities for children. While much research in the past century has focused on the assessment of musical abilities and the content of their lessons, more recent research has focused on children’s interactions with their social environments and how these interactions impact their ongoing ability and motivation to learn and play music. This chapter explores these social and cognitive developments starting with how children and their parents select an instrument and negotiate the commencement of formal music learning, through to the task related cognitive strategies children use to overcome the difficulties associated with learning and practice, and the ways they may eventually become able to integrate an identity as a musician with their own sense of self. Aspects of self-regulation and self-determination theory are discussed.
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ItemIntroduction to Fernando Sor: Cendrillon(Editions Orphee, 2016)
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ItemFamilies with preschool aged children with autism spectrum disorder(Jessica Kingsley Publishers, 2016-09-21)Sigman, M. and Kasari, C. (1995) 'Joint Attention Across Contexts in Normal and Autistic Children. ... Thompson, G. (2014) 'A survey of parent's use of music in the home with their child with Autism Spectrum Disorder: Implications for building the capacity of families. ... 5 Music-Oriented Counselling Model for Parents of Childen with Autism FAMILIES WITH PRESCHOOL-AGED CHILDREN WITH ASD 115.
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ItemSelf-regulation and mastery of musical skills(RoutledgeCurzon, 2011)
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ItemMusic and consumer behavior(Oxford University Press, 2016)This chapter opens with a brief account of three meta-analyses of studies of the effects of background music, one of which looks specifically at its effects in retail settings. It next outlines the main theoretical explanations of these effects, namely the effects of music on physiological arousal, on the priming of certain thoughts and associations, and on its influence through its emotional effects. It also considers a fourth mechanism identified in some of the authors’ own recent research on the effects of the listener’s degree of dominance and control over the music. The remainder of the chapter is a brief review, largely based on the authors’ own work, of three main areas of research on music and consumer behavior, namely that on the perception of the commercial environment, on product choice and musical fit, and on the speed of activity and time perception.
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ItemNo Preview AvailableProdigy(SAGE Publications, Incorporated, 2014-08-13)The interdisciplinary nature of the work provides a starting place for students to situate the status of music within the social sciences in fields such as anthropology, communications, psychology, linguistics, sociology, sports, political ...
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ItemThe Hispanic Grainger: Encounters with the Modern Spanish School(ASHGATE PUBLISHING LTD, 2015)
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ItemMusic and empire(Wiley, 2016)Abstract Music and empire have an entangled relationship: just as empires have influenced the development and practice of music throughout much of the world, music has performed vital functions in empires throughout history. Music is deeply embedded within the political, religious, and economic processes of empires, symbolizing power across large distances and shaping ideas, practices, and beliefs. Music is a potent vehicle for the spread of ideology: it has been used to exert political and social control, but also as a tool for resistance. Within empires incorporating multiple ethnic groups, the performance, study, and teaching of music has been used to highlight cultural differences, or to enforce assimilation and standardization. Networks of transport, trade, and communication within and between empires have facilitated and precipitated the movement and circulation of musicians, instruments, ideas, and practices; the cross‐cultural adoption, adaptation, and/or mixing of these elements is a typical consequence of empire.
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ItemUnderlying mechanisms and processes in the development of emotion perception in music(Oxford University Press, 2015)This chapter proposes a spiral model to explain the development of the perception of emotion in music from infant to adolescent. Development begins with a “schematic” processing style (related to “absolutism”) which links emotion and music via automated responses to the environment, such as a startle to sudden loud sounds or attraction to infant-directed speech. The young child then moves into a period where veridical/one-to-one music–emotion connections are formed (related to “referentialism”) primarily as a result of exposure to cultural norms. The spiral then winds back toward an emphasis on schematic links, where children draw on their repertoire of musical experiences, and react at adult levels of emotion perception in music. The period of adolescence sees the spiral move back to a more individualized veridical processing focus, where pressures to become young adults and develop a personal identity drive the desire to form links with individual pieces and/or performers.