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Books on the topic 'Musical pedagogy'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

G, Polo Aguirre, ed. Acercamiento Musical. Ediarte S.A., 1997.

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2

Kohut, Daniel L. Musical performance: Learning theory and pedagogy. Prentice-Hall, 1985.

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3

Dunscomb, J. Richard. Jazz pedagogy: The jazz educator's handbook and resource guide. Warner Bros. Publishers, 2002.

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4

Kuprina, Elena. Co-creation in music and music education. INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles.  In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In mu

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5

Nadolinskaya, Tat'yana, Lyudmila Rapackaya, and Igor' Krasil'nikov. Music education technologies. INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1171998.

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The textbook reveals the theoretical foundations of the use of music education technologies in secondary schools. The ways of implementing technologies in various types of musical activity are described and characterized, the main methods of diagnosing the musical development of schoolchildren are revealed, the ways of interaction of musical and theatrical pedagogy in regular and extracurricular activities are revealed, the multifunctional nature of the professional activity of a teacher-musician based on the use of integrated theatrical technologies is shown. The manual includes six chapters,

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6

Mario, Piatti, ed. Pedagogia della musica: Un panorama. CLUEB, 1994.

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7

Shenderovich, Evgeniĭ. V kont︠s︡ertmeĭsterskom klasse: Razmyshlenii︠a︡ pedagoga. Muzyka, 1996.

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8

Smith, Brenda. Choral pedagogy. Singular, 2000.

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9

Smith, Brenda. Choral pedagogy. Plural Publishing, 2013.

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10

Delfrati, Carlo. Orientamenti di pedagogia musicale: Scritti 1966-1986. Ricordi, 1989.

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11

Paz, Ermelinda Azevedo. Pedagogia musical brasileira no século XX: Metodologias e tendências. MusiMed, 2000.

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12

Browning, Birch P. An Orientation to Musical Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199928200.001.0001.

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Novice music educators often experience conflict between their roles as teachers and their roles as musicians. The broad purpose of this text is to assist pre-service music teachers as they begin the transition from students to professional educators and musicians by challenging what they think they know about those two distinct yet complementary roles. Rather than perpetuating existing practice, these future educators are encouraged to build their own new vision for music curriculum and education by examining the "big concepts" of teaching and musicianship based on several research-based idea

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13

Kohut, Daniel L. Musical Performance: Learning Theory and Pedagogy. Stipes Publishing, LLC, 1992.

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14

Brown, Kirsten Shippert, and Christopher Arneson. Musical Theater Voice Pedagogy: The Art & Science. Inside View Press, 2023.

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15

Abrahams, Frank. Critical Pedagogy as Choral Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.1.

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In this chapter, the author suggests that choral directors use the tenets of critical pedagogy as the framework for the choral experience, a shift in traditional choral pedagogies. The chapter explores the roots of critical pedagogy. In particular it discusses the ways an approach grounded in critical pedagogy might remedy issues of the inappropriate uses of power, the marginalization of singers, and hegemonic practices in school politics. The text suggests rehearsal strategies and explains techniques of reciprocal teaching to better connect the ways singers engage with music and in the proces

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16

Brown, Kirsten Shippert, and Christopher Arneson. Musical Theater Voice Pedagogy: The Art and Science. Inside View Press, 2023.

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17

Kaddouch, Robert. Pedagogy of Creation. The Rowman & Littlefield Publishing Group, 2019. https://doi.org/10.5040/9781666982770.

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In A Pedagogy of Creation: Teaching Students to Communicate through Music, Robert Kaddouch discusses his system of musical pedagogy which approaches the act of creation as an act of communication, coining the process of creating music as an act of “conductivity.” Kaddouch argues teaching music requires teaching students to communicate through their music, and defines four objectives teachers must adopt in order to understand their students and help them connect and conduct through the music they create.

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18

Browning, Birch. An orientation to musical pedagogy: Becoming a musician-educator. 2017.

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19

Do Re Mi 9: Educación Musical. Voluntad Editores, 1997.

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20

Goetze, Mary. Repertoire as Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.18.

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Including music from a wide range of cultures calls for choral directors to rethink the common practices employed in most choral rehearsals, and to open themselves to a world of new procedures within rehearsals and performances. Since few directors are also ethnomusicologists, these new practices may also impact the role the director plays in the rehearsals. This chapter challenges directors to define their reasons for including vocal music from outside the western art tradition. Directors should consider alternative processes for finding repertory, presenting it to the ensemble, and sharing i

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21

Serenata: Música 3. Editorial Voluntad S.A., 1989.

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22

(Editor), Frances Rauscher, and Wilfried Gruhn (Editor), eds. Neurosciences in Music Pedagogy. Nova Science Pub Inc, 2007.

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23

New mansions for music: Performance, pedagogy, and criticism. Social Science Press, 2008.

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24

Wilson Kimber, Marian. Making Elocution Musical. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0002.

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Poetic recitation was regularly heard at concerts and in “musical and literary entertainments.” Recitation anthologies designed for homes and schools provided sample programs. Music and elocution were combined outside of the conventions of notation: texts of songs were spoken to their accompaniments, and previously composed or improvised music was used to accompany speech. Contemporary speech pedagogy reveals that performed speech was characteristically musical due to highly-pitched practices, often notated with graphic symbols. The career of Jane Manner demonstrates the full range of melodram

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25

Owens, Matthew, and Graham F. Welch. Choral Pedagogy and the Construction of Identity. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.9.

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Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have girl as well as boy cathedral choristers, often alternating in the singing of the daily services. One of the original political challenges in this musico-cultural initiative was whether or not it was possible for girl choristers to attain the same vocal quality as their male counterparts. Empirical studies, however, suggest that there is considerable overlap between the psycho-acoustic vocal features of girls’ and boys’ singing, such that it is often difficult perceptually to distinguish between the

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26

Abrahams, Frank, and Daniel Abrahams. Choral Pedagogy and the Construction of Meaning. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.11.

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In this chapter, the authors focus on pedagogies, such as the theories of Lev Vygotsky and the active learning concepts of John Dewey, that contribute to the making of meaning, and the acquisition of meaningfulness by proposing a sociotransformative approach to choral pedagogy in the teaching of the expert chorister. Based on constructivist learning theories, and applying reciprocal teaching, this perspective centers on the conductor’s influence as they design opportunities for dialogic conversation, authentic activity, metacognition, and reflexivity. When skillfully integrated into the fabric

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27

Abrahams, Daniel. Fostering Musical and Personal Agency. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.6.

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With the goal to create personal and musical agency in choral conductors, this chapter discusses the application of constructivist principles to choral pedagogy and the teaching of an undergraduate conducting class. In addition to teaching the requisite conducting skills, reflective practice, meaning making, and problem solving were included to foster habits of mind to prepare students to eventually conduct their own ensembles. Undergraduate students in their first conducting class provided the data, which included reflective journals, in class feedback, along with the teacher’s reflective mem

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28

Dunscomb, J. Richard, and Willie L. Jr Hill. Jazz Pedagogy: The Jazz Educator's Handbook and Resource Guide. Warner Brothers, 2004.

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29

Mermikides, Milton, and Eugene Feygelson. The shape of musical improvisation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0012.

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This chapter presents practitioner–researcher perspectives on shape in improvisation. A theoretical framework based in jazz improvisational pedagogy and practice is established, and employed in the analysis of examples from both jazz and classical-period repertoire. The chapter is laid out in five sections. The first section provides a brief overview of improvisational research, while the second discusses the concept of improvisation as ‘chains-of-thought’ (a logical narrative established through the repetition and transformation of musical objects). The third reflects upon improvisation as th

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30

Laon-laon: Perspectives in transmission and pedagogy of musical traditions in post-colonial Southeast Asia. University of Santo Tomas Pub. House, 2012.

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31

Senay, Banu. Musical Ethics and Islam. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043024.001.0001.

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At the heart of this study is a musical practice that occupies a significant place in the contemporary public soundscape of Turkey: the art of playing the ney. Intimately connected with Sufism in both the Ottoman Empire and, for better or worse, in modern secular Turkey, the ney has been a popular instrument throughout the Middle East and North Africa. After enduring a checkered social life during the Turkish Republic’s modernizing reforms, today in a more Islam-friendly socio-political environment the ney is flourishing. Based on extensive field research in Istanbul and an apprentice-style me

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32

Garnett, Liz. Choral Pedagogy and the Construction of Identity. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.7.

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This chapter examines how theories of identity construction can usefully inform choral praxis. It starts with an outline of key concepts in theories of identity and how they can help us understand the processes by which choirs inculcate their members into their particular choral culture. It then examines three areas particularly salient for the choral leader. The first is the phenomenon of “non-singers”: how they emerge as a by-product of western cultural discourses, and what can be done to rehabilitate them. The second is the interpenetration of social and musical identity categories: how ele

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33

Harrison, Scott, and Anthony Young. Choral Pedagogy and the Construction of Identity. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.8.

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The chapter speaks to the creation of an encouraging environment in which singing is considered a natural part of male identity. The chapter begins by problematizing the issue of boys’ identity, and addresses some of the concerns raised in the literature and recent research regarding a reluctance of males to sing in the choral setting. After a brief overview of the physiological aspects of changing voice, the chapter moves to discuss the practical considerations. The chapter reflects on practitioners and scholars that have had positive experiences of singing, and issues are systematically addr

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34

Prouty, Ken. Knowing Jazz: Community, Pedagogy, and Canon in the Information Age. University Press of Mississippi, 2012.

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35

Prouty, Ken. Knowing Jazz: Community, Pedagogy, and Canon in the Information Age. University Press of Mississippi, 2013.

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36

Good-Perkins, Emily. Culturally Sustaining Pedagogies in Music Education: Expanding Culturally Responsive Teaching to Sustain Diverse Musical Cultures and Identities. Taylor & Francis Group, 2021.

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37

Good-Perkins, Emily. Culturally Sustaining Pedagogies in Music Education: Expanding Culturally Responsive Teaching to Sustain Diverse Musical Cultures and Identities. Taylor & Francis Group, 2021.

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38

Culturally Sustaining Pedagogies in Music Education: Expanding Culturally Responsive Teaching to Sustain Diverse Musical Cultures and Identities. Routledge, 2021.

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39

Culturally Sustaining Pedagogies in Music Education: Expanding Culturally Responsive Teaching to Sustain Diverse Musical Cultures and Identities. Taylor & Francis Group, 2021.

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40

Gainza, Violeta Hemsy De. Pedagogia Musical. Lumen Books/Sites Books, 2003.

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41

Talty, Jack. Noncanonical Pedagogies for Noncanonical Musics. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0005.

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This chapter explores the ways in which a selection of European pedagogues and institutions involved in folk, traditional, world music, and popular music education navigate a world of music pedagogy that has been historically dominated by the Western classical tradition. More specifically, it interrogates how pedagogues draw on, adapt, or depart from Western classical pedagogy to manage “canonicity” in music education and to negotiate the needs and expectations of local musical communities. The research, informed by interviews conducted with individuals at eight European music departments, sug

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42

More Promising Musical Future : Leading Transformational Change in Music Higher Education: CMS Emerging Fields in Music. Taylor & Francis Group, 2022.

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43

Stepniak, Michael. More Promising Musical Future : Leading Transformational Change in Music Higher Education: CMS Emerging Fields in Music. Taylor & Francis Group, 2022.

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44

Stepniak, Michael. More Promising Musical Future : Leading Transformational Change in Music Higher Education: CMS Emerging Fields in Music. Taylor & Francis Group, 2022.

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45

Berkowitz, Aaron L. The Cognitive Neuroscience of Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.004.

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Cognitive neuroscience research has begun to elucidate the neural substrates and cognitive processes that are involved in musical improvisation. In turn, the study of improvisation from the perspective of cognitive neuroscience has provided new insights about the brain and cognition. This chapter reviews brain imaging research studies of improvisation and explores the relevance of this work to musicians, musicologists, music educators, and cognitive neuroscientists with respect to the practice and pedagogy of improvisation, comparisons between music and language cognition, mirror neuron system

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46

Charoenwongse, Chindarat. Undergraduate piano pedagogy course offerings in Thai universities: A document submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. UMI, 1999.

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47

O'Dea, Jane. Virtue or Virtuosity? Greenwood Publishing Group, Inc., 2000. http://dx.doi.org/10.5040/9798216032571.

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Drawing upon the past two decades of burgeoning literature in philosophy of music, this study offers a comprehensive, critical analysis of what is entailed in performance interpretation. It argues that integrity and other virtues offset the harm that virtuosity and rigid historical authenticity can impose on the perceptive judgment required of excellent musical interpretation. Proposed are challenging and provocative reassessments of the appropriate roles for virtuosity and historical authenticity in musical performance. Acknowledging the competitive ethos of the contemporary music scene, it d

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48

Mullen, Phil, and Kathryn Deane. Strategic Working with Children and Young People in Challenging Circumstances. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.27.

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Young people in challenging circumstances have been a key participant group in, and for, interventionist community music practice for several decades. In the United Kingdom, hundreds of projects receive funding every year to work with these children and young people, often with a clear agenda to focus on personal and social transformation, as well as musical development. While the benefits of this work have been well documented, it is only within the last decade that anything approaching a systematic, rigorous, and strategic approach has been attempted. Drawing on their professional background

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49

Seeman, Sonia Tamar. Embodied Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0010.

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Ethnomusicological methods and perspectives provide important contributions to twenty-first-century music pedagogy. In this chapter I make a number of claims regarding (1) the effective teaching of music and what it entails; (2) how heightening awareness of the gap between far and near may be most effectively addressed; and (3) how effective enactment of these teaching goals may aid student engagement with issues in the outside world. I offer three case studies to illustrate the techniques I lay claim to. I conclude with a description of core curriculum reforms at the Austin branch of the Univ

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50

Upitis, Rena. This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.001.0001.

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This Too Is Music guides and motivates teachers to foster classroom conditions that enable elementary students to thrive as improvisers, critical listeners, performers, and composers. Using anecdotes and illustrated with musical examples, the book explores how these aspects of music making are intertwined and quells any doubts teachers may have regarding their abilities to create an environment where children can improvise, dance, compose, and notate their musical offerings. While the book acknowledges the importance of traditional approaches to teaching notation and performance, its emphasis

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