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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ItemNo Preview AvailableLa estética tardía de Les Ballets Russes y la transformación de El amor brujo en la versión de León Woizikovsky y Natalia Goncharova (1935)(Centro de Documentación de Música y Danza-INAEM; Fundación Archivo Manuel de Falla, 2017)In 1935 Les Ballets de Léon Woizikovsky staged El amor brujo with costumes and sets by Natalia Goncharova. The production was the first major choreography by the famous dancer Woizikovsky, whose reworking of the celebrated ballet by Manuel de Falla was one of the principal attractions of the new company for several years in the second half of the 1930s. During this time they undertook long tours around Spain, Europe and Oceania. Woizikovsky and Goncharova, who had been key members of Sergei Diaghilev’s Ballets Russes, also had many ties with the music of Falla and Spain. However, some of the ideas they explored in El amor brujo had origins in their collaboration with Bronislava Nijinska in the staging of Igor Stravinsky’s Les Noces (1924). These concepts included the simplification of the original plot, stylisation of the choreography and the employment of a limited range of colours in the sets and costumes.
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ItemBeyond Ropar Bar: Transcultural and transformative collaborations of the Australian Art Orchestra and the Young Wagilak Group(Information Age Publications, 2017-03-31)
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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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ItemLearning to perform: From 'gifts' and 'talents' to skills and creative engagement(Oxford University Press, 2017)To perform any skilled activity to expert level requires committed and intensely motivated learning. This chapter explores how musical development, particularly as it applies to learning an instrument, depends crucially on inventive and productive opportunities that coalesce in configurations unique to each learner. It reveals how an obsession with gifts and talents on the parts of researchers, teachers, parents and musicians alike has led to confusion over the nature and acquisition of the skills required for high-level music performance. It traces key theories on family scripts and self-determination to illustrate the ways in which psychological constructs shape belief and thus motivate learning. Environmental catalysts such as practice support and opportunity for creative expression offer additional significant influences. These factors are shown to align with intrapersonal characteristics and are described as syzygies, or inventive configurations, that provide pathways to committed music learning.
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ItemSELF-REGULATED LEARNING IN MUSIC PRACTICE AND PERFORMANCE(Routledge, 2017-01-01)This chapter discusses self-regulated learning (SRL) in the context of music. SRL holds significant potential for increasing the efficiency of musical skill acquisition across all aspects of music performance instruction. We begin with a review of selected research that has studied skill acquisition when learning to play a musical instrument. Although the literature related to this topic is growing steadily, much of the scholarship is scattered and atheoretical. Moreover, researchers in music tend to concentrate on behavior and cognition as separate and somewhat unrelated theoretical topics to the exclusion of affect. We discuss these limitations and present a summary of literature that brings research-based evidence pertaining to behavior, cognition, and affect together into a coherent SRL framework. Current and future research priorities are then detailed as a means of outlining ways of maximizing music practice, teacher-student interactions, and efficient approaches to learning complex musical skills. Our final section summarizes the discussion and provides implications for how SRL might be adopted more widely in the music education domain.