Melbourne Conservatorium of Music - Research Publications
Permanent URI for this collection
Search Results
1 - 10 of 22
-
ItemSelf-regulation and mastery of musical skills(RoutledgeCurzon, 2011)
-
ItemThe genetic basis of music ability(FRONTIERS MEDIA SA, 2014-06-27)Music is an integral part of the cultural heritage of all known human societies, with the capacity for music perception and production present in most people. Researchers generally agree that both genetic and environmental factors contribute to the broader realization of music ability, with the degree of music aptitude varying, not only from individual to individual, but across various components of music ability within the same individual. While environmental factors influencing music development and expertise have been well investigated in the psychological and music literature, the interrogation of possible genetic influences has not progressed at the same rate. Recent advances in genetic research offer fertile ground for exploring the genetic basis of music ability. This paper begins with a brief overview of behavioral and molecular genetic approaches commonly used in human genetic analyses, and then critically reviews the key findings of genetic investigations of the components of music ability. Some promising and converging findings have emerged, with several loci on chromosome 4 implicated in singing and music perception, and certain loci on chromosome 8q implicated in absolute pitch and music perception. The gene AVPR1A on chromosome 12q has also been implicated in music perception, music memory, and music listening, whereas SLC6A4 on chromosome 17q has been associated with music memory and choir participation. Replication of these results in alternate populations and with larger samples is warranted to confirm the findings. Through increased research efforts, a clearer picture of the genetic mechanisms underpinning music ability will hopefully emerge.
-
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 ...
-
ItemNo Preview AvailableGiftedness and talent(SAGE, 2014-08-13)One of the most contentious debates in psychology, education, biology, and other related disciplines centres on the source of exceptional ability. This chapter addresses fundamental issues surrounding the nature/nurture debate in music and, in doing so, scrutinises much of the folklore that typically accompanies remarkable musical abilities. Specifically, it outlines a broad framework that distinguishes between 'giftedness' and 'talent' and discusses, in turn, six core components of this framework: giftedness, the developmental process, intrapersonal factors, environmental catalysts, chance, and talent. It then explores the scope and potential for identifying musically gifted children. Throughout, it draws on the early experiences of Wolfgang Amadeus Mozart, commonly evoked as the paradigmatic example of childhood accomplishment, to elucidate these components.
-
ItemEducation, Music(Sage Publications, 2014)
-
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.
-
ItemVideoconferencing for teaching and learning using highly interactive pedagogy(School of Engineering, Deakin University, 2015-12-06)
-
ItemCommentary: Critical Reflections and Future Action(Oxford University Press, 2012)
-
ItemMusical literacy: Reading traditional clef notation(Oxford University Press, 2015)This chapter discusses what it means for a child to be “musically literate.” It focuses on the fundamental aspects of learning to use traditional staff notation, and how children develop their capacity to make music, reflect on the music in which they are engaged, express their views on music which they play, hear, or create, speak about and listen to music in order to form judgments, and read, write, comprehend, and interpret staff notation. The chapter shows how conceptions of being “musically literate” are fraught with problems related to defining what is meant by music and the various situations in which children might be engaged musically. It is also suggested that reading staff notation is not a prerequisite for successful engagement with and appreciation of music, and that an exclusive concentration on reading has held back the progress of countless learners, while putting many others off completely.
-
ItemMotivation to study music in Australian schools: the impact of music learning, gender, and socio-economic status(SAGE Publications, 2015)This study extends an eight-country mapping exercise undertaken (McPherson & O’Neill, 2010; see RSME issues 2010-2011) to now include students’ motivation to study music within the Australian context. It sought to determine whether music learners (students learning an instrument or voice), might be more motivated to study academic subjects at school, and whether gender and socio-economic status (SES) affected student motivation to learn music at school. A total of 2,742 students from grades 5 to 12 completed a questionnaire based on Eccles’ and Wigfield’s expectancy-value framework. Data collected included ratings of competence beliefs, interest, importance, usefulness and difficulty for four subjects music, English, maths and science, and indications of whether the students were currently learning a musical instrument or voice (music learners) or whether they would like to if given the opportunity. There was an overall significant decline in competence beliefs, interest, importance, and usefulness across the school years, in contrast with increased task difficulty ratings across the school years. Music learners reported significantly higher competence beliefs, interest, importance, usefulness, and significantly less task difficulty than non-music learners. This advantage applied across all school grades for music, competence beliefs for English in upper primary and lower secondary school grades, and for maths in lower secondary grades. Although females reported music as more important and useful than males, their competence beliefs and task difficulty ratings were equivalent. Music was considered slightly less interesting for females than for males. The value of music as a subject declined significantly for upper SES students from upper primary to lower secondary schools. The greatest number of participants (40.8%) who expressed a desire to learn a musical instrument came from the lower SES category in upper primary school. This result for the Australian context is significant, indicating that this may be a positive time to recruit learners. This study provides new information regarding the relationship between motivation and desire to learn a musical instrument across school grades, gender, and socio-economic factors.