What can infants hear? What are their reactions to music? Is it useful for them to sing and listen to music? Is their auditory sensitivity developed before their birth? At what age do they start singing, and clapping their hands? How can their musical development be improved? These (and other) questions are present in today's debate on music education and the responses are normally given in an intuitive way. It is now necessary and urgent to sketch a developmental profile of infants, starting from their earliest manifestations. In the last 30 years, research in this field has been progressively developed. In most cases research has been devoted to single aspects of more complex problems. Moreover, it has been based on non-homogeneous categories of subjects and by different methods. Motivated by the fact that many open problems need to be solved, Professor Tafuri decided, in 1998, to begin a longitudinal research project devoted to studying the musical development in children from 0 to 6 years, with particular attention on the ability to sing in tune. During these 6 years, the children would have a regular music education experience with their mothers and often other members of the immediate family. This book has two main areas of focus. The first reconstructs the development of human musical abilities. Tafuri systematically reports studies of the development of vocal, rhythmic and motor abilities through the observation of the same participants for three years, beginning with the mothers' experiences in the last three months of pre-natal life. The programme of musical activities and the modalities of the collaboration with the parents are described. The second area of focus puts forward an educational perspective based on the results of the research. The amount and the quality of the collected data can allow parents and educators to plan different activities by considering the starting point for individual participants and the development of the
This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.
Singing has been a characteristic behaviour of humanity across several millennia. Chorus America (2009) estimated that 42.6 million adults and children regularly sing in one of 270,000 choruses in the US, representing more than 1:5 households. Similarly, recent European-based data suggest that more than 37 million adults take part in group singing. The Oxford Handbook of Singing is a landmark text on this topic. It is a comprehensive resource for anyone who wishes to know more about the pluralistic nature of singing. In part, the narrative adopts a lifespan approach, pre-cradle to senescence, to illustrate that singing is a commonplace behaviour which is an essential characteristic of our humanity. In the overall design of the Handbook, the chapter contents have been clustered into eight main sections, embracing fifty-three chapters by seventy-two authors, drawn from across the world, with each chapter illustrating and illuminating a particular aspect of singing. Offering a multi-disciplinary perspective embracing the arts and humanities, physical, social and clinical sciences, the book will be valuable for a broad audience within those fields.
“Since singing is so good a thing,I wish all men would learne to sing” (William Byrd, 1588) Over the centuries, there has been reluctance among boys and men to become involved in some forms of singing. Perspectives on Males and Singing tackles this conundrum head-on as the first academic volume to bring together leading thinkers and practitioners who share their insights on the involvement of males in singing. The authors share research that analyzes the axiomatic male disinclination to sing, and give strategies designed to engage males more successfully in performing vocal music emphasizing the many positive effects it can have on their lives. Inspired by a meeting at the Australian symposium ‘Boys and Voices’, which focused on the engagement of boys in singing, the volume includes contributions from leading authorities in Australia, New Zealand, Canada, the United States and Europe.
Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.
The landscape of music education in the UK is constantly shifting and developing. This book provides a timely and unique overview of this restless sector by considering the achievements of music education, analysing its current performance and setting out aspirations for the future. Music Education in the 21st Century in the United Kingdom addresses the power of music to influence and change human behaviour, analyses current and future issues in music education and casts a spotlight on particular areas of education, including early years, the primary school, the secondary school, further education, universities and conservatoires, music services, the music studio and the role of music leaders and community musicians. Written by experts in the field of music education, the book provides an authoritative account of the current status of music education in the UK. While essential to understand the current and future context in the UK, the book will be invaluable to those involved in music education internationally, as it includes chapters on the provision of music education for all children, listening, the role of singing, playing an instrument, creativity, the role of technology, issues of performance and assessment, learning through the lifespan and the initial and ongoing education of music teachers. It also includes a range of case study examples and evaluations of practice. The book is a landmark publication in the field of music education and will be essential reading for policy-makers, practitioners, music students, trainee music teachers and those who provide music services in the UK and internationally.
The National Singing Programme Sing Up was officially launched in November 2007 and a team from the Institute of Education, University of London were appointed early that academic term to undertake a research evaluation of key elements of the Programme. Across the first three years of the research-based Sing Up impact evaluation, data have been collected from 9,979 children, involving 11,388 individual singing assessments and the completion of 10,245 singing and self focused attitudinal questionnaires. Analyses of the data provide evidence that those children who have participated in the Sing Up programme are approximately two years in advance developmentally in their singing compared to their peers of the same age outside the programme. In addition, Sing Up experienced children have more positive attitudes to singing in school and appear to have a more positive self-image as a result of these experiences.
Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/
We sleep soundly in our beds because rough men stand ready in the night to visit violence on those who would do us harm.' (Attributed to Winston Churchill). Exploring the history of military museum collections around Britain.
With his sly little moustache, broad gap-toothed grin, garish waistcoats and ostentatious cigarette holder, Terry-Thomas was known as an absolute bounder, both onscreen and off. Graham McCann’s hugely entertaining biography celebrates the life and career of a very English rascal. Born in 1911 into an ordinary suburban family, Thomas Terry Hoar-Stevens set about transforming himself at a very early age into a dandy and a gadabout. But he did not put the finishing touches to his persona until the mid-1950s with his groundbreaking TV comedy series How Do You View?, a forerunner of The Goon Show and Monty Python. Terry-Thomas went on to carve out a long and lucrative career in America, appearing on TV alongside Judy Garland, Bing Crosby and Lucille Ball, and in Hollywood movies with Jack Lemmon, Rock Hudson and Doris Day. He became every American’s idea of a mischievous English gent. After a long battle with Parkinson’s disease, he died in 1990 in comparative obscurity, but his influence lives on. Basil Brush was a polyester tribute to Terry-Thomas, and comedians including Vic Reeves and Paul Whitehouse hail T-T as a role model. ‘Dandyism is the product of a bored society,’ D’Aurevilly observed. Terry-Thomas cocked a snook at the dull sobriety of post-war Britain with his sly humour. As he would say himself: ‘Good show!’
Our Boy tells the factual and tragic, yet incredulous story of a Coldstream Guardsman in World War Two. From the discovery of a bundle of old letters and documents, a journey of discovery unfolded that led to fascinating revelations of the exploits of the author’s uncle who died shortly after the end of World War Two. Using information from multiple sources, a story slowly emerged of friendship, bravery, deprivation, elation, and horror. It transpired that the battles he fought in were some of the most gargantuan and bloody of the war in Europe. Dix explores the horrendous, gruelling battles of the Rhineland, crossing the Rhine and fighting innumerable battles across north-west Germany against the elite and fanatical German Parachute Army. The book also details the very human story of life at home where the family struggled to cope with the anxiety for their son’s safety, rationing, the blackout and all the hardships that come with war. This is a gripping and fascinating biography of one man’s journey and the difficulties he faced during World War Two.
The National Singing Programme Sing Up was officially launched in November 2007 and a team from the Institute of Education, University of London were appointed early that academic term to undertake a research evaluation of key elements of the Programme. One key component of the UK Government's National Singing Programme Sing Up (produced by Youth Music in partnership with Abbot Mead Vickers, Faber Music and The Sage Gateshead) is to ensure that children's singing development is fostered by adults who have appropriate musical knowledge, skills and understanding. Its stated role is to: 'deliver inclusive, learner-centred training for leaders singing with primary-age children in 60 target areas across England from September 2007 to March 2011, and each project runs for two years.' The workforce development - embracing 'Vocal Force' - draws on principles developed through 'Vocal Union', part of the Sage Gateshead's 'Access to Excellence Music Manifesto Pathfinder Programme'. Vocal Force is working in collaboration with existing schemes, projects, organisations and individuals across England as part of Sing Up. The Institute of Education, University of London agreed to undertake an external evaluation of a significant number of workforce development participants that was complimentary to, but separate from, the Sage Gateshead's own internal evaluation processes.
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