Handbook of musical identities:
Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships, and physical expressions. But, just as language can mediate the construction and negotiation of dev...
Gespeichert in:
| Weitere Verfasser: | , , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
2017
|
| Ausgabe: | First edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships, and physical expressions. But, just as language can mediate the construction and negotiation of developing identities, so music can also be a means of communication through which aspects of people's identities are constructed. Music can have a profound influence on our developing sense of identity, our values, and our beliefs, be it from rock music, classical music, or jazz. Musical identities (MacDonald, Hargreaves and Miell, 2002) was unique in being in being one of the first books to explore this fascinating topic. This new book documents the remarkable expansion and growth in the study of musical identities since the publication of the earlier work. The editors identify three main features of current psychological approaches to musical identities, which concern their definition, development, and the identification of individual differences, as well as four main real-life contexts in which musical identities have been investigated, namely in music and musical institutions; specific geographical communities; education; and in health and well-being. This conceptual framework provides the rationale for the structure of the Handbook. Raymond MacDonald is Professor of Music Psychology and Improvisation and Head of The School of Music at University of Edinburgh. He runs music workshops and lectures internationally and has published over 70 peer reviewed papers and book chapters. He has co-edited four texts, Musical Identities (2002), Musical Communication (2005), Musical Imaginations (2012) and Music Health & Wellbeing (2012) and was editor of the journal Psychology of Music between 2006 and 2012. His on-going research focuses on issues relating to improvisation, musical communication, music health and wellbeing, music education and musical identities. As a saxophonist and composer he is a founding member of The Glasgow Improvisers Orchestra and has released over 60 CDs. Collaborating with musicians such as David Byrne, George Lewis, Evan Parker, Jim O'Rourke and Marilyn Crispell he has toured and broadcast worldwide and has written music for film, television, theatre, radio and art installations. David Hargreaves is Professor of Education and Froebel Research Fellow at the University of Roehampton, and has previously held posts in the Schools of Psychology and Education at the Universities of Leicester, Durham and the Open University. He has been Editor of Psychology of Music, Chair of the Research Commission of the International Society for Music Education (ISME), and is a Fellow of the British Psychological Society. His books, in psychology, education, the arts, and music have been translated into 15 languages. He has appeared on BBC TV and radio as a jazz pianist and composer, and is organist on his local village church circuit. Dorothy Miell is Professor of Social Psychology based at the University of Edinburgh where she is also Vice Principal and Head of the College of Arts, Humanities and Social Sciences. She is a Fellow of the British Psychological Society and of the Royal Society of Edinburgh. She has worked on issues of identity, relationships and communication as they apply to creative collaborations in childhood, adolescence and amongst professional artists. Amongst her other co-edited texts are Musical Identities (2002), Learning to Collaborate, Collaborating to Learn (2004), Collaborative Creativity (2004), Musical Communication (2005) and Musical Imaginations (2012). |
| Beschreibung: | xix, 876 Seiten Illustrationen, Diagramme |
| ISBN: | 9780199679485 |
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| 520 | |a Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships, and physical expressions. But, just as language can mediate the construction and negotiation of developing identities, so music can also be a means of communication through which aspects of people's identities are constructed. Music can have a profound influence on our developing sense of identity, our values, and our beliefs, be it from rock music, classical music, or jazz. Musical identities (MacDonald, Hargreaves and Miell, 2002) was unique in being in being one of the first books to explore this fascinating topic. This new book documents the remarkable expansion and growth in the study of musical identities since the publication of the earlier work. The editors identify three main features of current psychological approaches to musical identities, which concern their definition, development, and the identification of individual differences, as well as four main real-life contexts in which musical identities have been investigated, namely in music and musical institutions; specific geographical communities; education; and in health and well-being. This conceptual framework provides the rationale for the structure of the Handbook. | ||
| 520 | |a Raymond MacDonald is Professor of Music Psychology and Improvisation and Head of The School of Music at University of Edinburgh. He runs music workshops and lectures internationally and has published over 70 peer reviewed papers and book chapters. He has co-edited four texts, Musical Identities (2002), Musical Communication (2005), Musical Imaginations (2012) and Music Health & Wellbeing (2012) and was editor of the journal Psychology of Music between 2006 and 2012. His on-going research focuses on issues relating to improvisation, musical communication, music health and wellbeing, music education and musical identities. As a saxophonist and composer he is a founding member of The Glasgow Improvisers Orchestra and has released over 60 CDs. Collaborating with musicians such as David Byrne, George Lewis, Evan Parker, Jim O'Rourke and Marilyn Crispell he has toured and broadcast worldwide and has written music for film, television, theatre, radio and art installations. | ||
| 520 | |a David Hargreaves is Professor of Education and Froebel Research Fellow at the University of Roehampton, and has previously held posts in the Schools of Psychology and Education at the Universities of Leicester, Durham and the Open University. He has been Editor of Psychology of Music, Chair of the Research Commission of the International Society for Music Education (ISME), and is a Fellow of the British Psychological Society. His books, in psychology, education, the arts, and music have been translated into 15 languages. He has appeared on BBC TV and radio as a jazz pianist and composer, and is organist on his local village church circuit. Dorothy Miell is Professor of Social Psychology based at the University of Edinburgh where she is also Vice Principal and Head of the College of Arts, Humanities and Social Sciences. She is a Fellow of the British Psychological Society and of the Royal Society of Edinburgh. She has worked on issues of identity, relationships and communication as they apply to creative collaborations in childhood, adolescence and amongst professional artists. Amongst her other co-edited texts are Musical Identities (2002), Learning to Collaborate, Collaborating to Learn (2004), Collaborative Creativity (2004), Musical Communication (2005) and Musical Imaginations (2012). | ||
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Datensatz im Suchindex
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| adam_text | Contents
List of Abbreviations xiii
List of Contributors xv
SECTION 1 EDITORS’ INTRODUCTION
1. The changing identity of musical identities 3
David J. Hargreaves, Raymond MacDonald,
and Dorothy Miell
SECTION 2 SOCIOLOGICAL, DISCURSIVE,
AND NARRATIVE APPROACHES
2. Identities and musics: reclaiming personhood 27
David J. Elliott and Marissa Silverman
3. Music-ecology and everyday action: creating, changing,
and contesting identities 46
Tia DeNora
4. From small stories: laying the foundations for narrative identities
in and through music 63
Margaret S. Barrett
5. Young peoples musical lives: learning ecologies, identities,
and connectedness 79
Susan A. O’Neill
6. The ear of the beholder: improvisation, ambiguity, and social
contexts in the constructions of musical identities 105
Graeme B. Wilson and Raymond MacDonald
7. Post-national identities in music: acting in a global intertextual
musical arena 122
Goran Folkestad
Vlll
CONTENTS
8. “Will the real Slim Shady please stand up?”: identity
in popular music 137
Andy McKinlay and Chris McVittie
SECTION 3 DEVELOPMENT
9. The musical self: affections for life in a community of sound 155
COLWYN TREVARTHEN AND STEPHEN MaLLOCH
10. Musical identity, interest, and involvement 176
Alexandra Lamont
11. Building musical self-identity in early infancy 197
JOHANNELLA TaFURI
12. Processes of musical identity consolidation during adolescence 213
Paul Evans and Gary E. McPherson
13. The moving and movement identities of adolescents:
lessons from dance movement psychotherapy in a mainstream
secondary school 232
Vicky Karkou and Julie Joseph
SECTION 4 INDIVIDUAL DIFFERENCES
14. Musical identities, music preferences, and individual
differences 247
Sebastian P. Dys, E. Glenn Schellenberg, and Kate C. McLean
15. From musical experience to musical identity: musical
self-concept as a mediating psychological structure 267
Maria B. Spychiger
16. Defining the musical identity of “non-musicians” 288
Nikki S. Rickard and TanChyuan Chin
17. The social psychological underpinnings of musical identities:
a study on how personality stereotypes are formed
from musical cues 304
David M. Greenberg and Peter J. Rentfrow
18. Musical identity and individual differences in empathy
Emery Schubert
322
CONTENTS
IX
SECTION 5 MUSICAL INSTITUTIONS
AND PRACTITIONERS
19. Impersonating the music in performance 345
John Rink
20. Performance identity 364
Jane W. Davidson
21. Imagining identifications: how musicians align their practices
with publics 383
Byron Dueck
22. Patterns of sociohistorical interaction between musical identity
and technology 403
Adam Linson
23. Who am I? The process of identity renegotiation for opera
choristers following redundancy 420
Jane Oakland, Raymond MacDonald, and Paul Flowers
24. Re-authoring the self: therapeutic songwriting in identity work 436
Felicity A. Baker and Raymond MacDonald
25. Staying one step ahead?: The self-identity of Japanese
concert promoters 453
Martin Cloonan
SECTION 6 EDUCATION
26. Musical identity, learning, and teaching 475
Susan Hallam
27. Identity formation and agency in the diverse music classroom 493
Heidi Westerlund, Heidi Partti, and Sidsel Karlsen
28. Music in identity in adolescence across school transition 510
Jennifer E. Symonds, Jonathan James Hargreaves,
and Marion Long
29. Childrens ethnic identities, cultural diversity, and music education 527
Beatriz Ilari
X
CONTENTS
30. The identities of singers and their educational environments 543
Graham F. Welch
31. Music games and musical identities 566
Gianna G. Cassidy and Anna M. J. M. Paisley
SECTION 7 HEALTH AND WELL BEING
32. Music, identity, and health 589
Even Ruud
33. Musical identity in fostering emotional health 602
Suvi Saarikallio
34. Music-making in therapeutic contexts: reframing identity
following disruptions to health 624
Wendy L. Magee
35. Identity and musical development in people with severe
or profound and multiple learning difficulties 642
Adam Ockelford and John Vorhaus
36. “I would die without my music”: relying on musical identities
to cope with difficult times 668
Katrina Skewes McFerran and Cherry Hense
37. On musical identities, social pharmacology, and intervention timing
in music therapy 682
Jörg Fachner, Jaakko Erkkilä, and Olivier Brabant
SECTION 8 CASE STUDIES
38. The imaginary African: race, identity, and Samuel
Coleridge-Taylor 703
Nicholas Cook
39. The identities of Sevda: from Graeco-Arabic medicine
to music therapy 722
Nigel Osborne
40. Musical identities, resilience, and wellbeing: the effects
of music on displaced children in Colombia 736
Gloria P. Zapata Restrepo and David J. Hargreaves
CONTENTS Xi
41. Music of Englishness: national identity and the first folk revival 751
Robert Colls and Katie Palmer Heathman
42. Sistema Scotland: emerging musical identities in Big Noise,
Raploch 768
Kathryn Jourdan and Richard Holloway
43. Musical identities in Australia and South Korea and new identities
emerging through social media and digital technology 789
Myung-Sook Auh and Robert Walker
44. Identity, music, and festivity in southern Tunisia 806
Alan Karass
Author Index 823
Subject Index 851
|
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| publisher | Oxford University Press |
| record_format | marc |
| spelling | Handbook of musical identities edited by Raymond MacDonald, David J. Hargreaves and Dorothy Miell Musical identities First edition New York, NY Oxford University Press 2017 xix, 876 Seiten Illustrationen, Diagramme txt rdacontent n rdamedia nc rdacarrier Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships, and physical expressions. But, just as language can mediate the construction and negotiation of developing identities, so music can also be a means of communication through which aspects of people's identities are constructed. Music can have a profound influence on our developing sense of identity, our values, and our beliefs, be it from rock music, classical music, or jazz. Musical identities (MacDonald, Hargreaves and Miell, 2002) was unique in being in being one of the first books to explore this fascinating topic. This new book documents the remarkable expansion and growth in the study of musical identities since the publication of the earlier work. The editors identify three main features of current psychological approaches to musical identities, which concern their definition, development, and the identification of individual differences, as well as four main real-life contexts in which musical identities have been investigated, namely in music and musical institutions; specific geographical communities; education; and in health and well-being. This conceptual framework provides the rationale for the structure of the Handbook. Raymond MacDonald is Professor of Music Psychology and Improvisation and Head of The School of Music at University of Edinburgh. He runs music workshops and lectures internationally and has published over 70 peer reviewed papers and book chapters. He has co-edited four texts, Musical Identities (2002), Musical Communication (2005), Musical Imaginations (2012) and Music Health & Wellbeing (2012) and was editor of the journal Psychology of Music between 2006 and 2012. His on-going research focuses on issues relating to improvisation, musical communication, music health and wellbeing, music education and musical identities. As a saxophonist and composer he is a founding member of The Glasgow Improvisers Orchestra and has released over 60 CDs. Collaborating with musicians such as David Byrne, George Lewis, Evan Parker, Jim O'Rourke and Marilyn Crispell he has toured and broadcast worldwide and has written music for film, television, theatre, radio and art installations. David Hargreaves is Professor of Education and Froebel Research Fellow at the University of Roehampton, and has previously held posts in the Schools of Psychology and Education at the Universities of Leicester, Durham and the Open University. He has been Editor of Psychology of Music, Chair of the Research Commission of the International Society for Music Education (ISME), and is a Fellow of the British Psychological Society. His books, in psychology, education, the arts, and music have been translated into 15 languages. He has appeared on BBC TV and radio as a jazz pianist and composer, and is organist on his local village church circuit. Dorothy Miell is Professor of Social Psychology based at the University of Edinburgh where she is also Vice Principal and Head of the College of Arts, Humanities and Social Sciences. She is a Fellow of the British Psychological Society and of the Royal Society of Edinburgh. She has worked on issues of identity, relationships and communication as they apply to creative collaborations in childhood, adolescence and amongst professional artists. Amongst her other co-edited texts are Musical Identities (2002), Learning to Collaborate, Collaborating to Learn (2004), Collaborative Creativity (2004), Musical Communication (2005) and Musical Imaginations (2012). Identität (DE-588)4026482-8 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Musik (DE-588)4040802-4 s Identität (DE-588)4026482-8 s DE-604 MacDonald, Raymond ca. 20./21. Jh. (DE-588)1031122338 edt Hargreaves, David J. 1948- (DE-588)124665756 edt Miell, Dorothy edt Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029155730&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Handbook of musical identities Identität (DE-588)4026482-8 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4026482-8 (DE-588)4040802-4 (DE-588)4143413-4 |
| title | Handbook of musical identities |
| title_alt | Musical identities |
| title_auth | Handbook of musical identities |
| title_exact_search | Handbook of musical identities |
| title_full | Handbook of musical identities edited by Raymond MacDonald, David J. Hargreaves and Dorothy Miell |
| title_fullStr | Handbook of musical identities edited by Raymond MacDonald, David J. Hargreaves and Dorothy Miell |
| title_full_unstemmed | Handbook of musical identities edited by Raymond MacDonald, David J. Hargreaves and Dorothy Miell |
| title_short | Handbook of musical identities |
| title_sort | handbook of musical identities |
| topic | Identität (DE-588)4026482-8 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Identität Musik Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029155730&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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