Music plays an important role in all our lives, and is a channel through which we can express emotions, thoughts, political statements, and social relationships. However, just as music can be a channel through which we express ourselves, it can also have a profound influence on our own developing sense of identity. This is the first book to explore the powerful effect that music can have as we develop our sense of identity, from adolescence through to adulthood. Bringing together leading experts from psychology and music, it will be a valuable addition to the music psychology literature, and essential for music psychologists, social and developmental psychologists, and educational psychologists.

The Handbook of Musical Identities explores three features of psychological approaches to musical identities and four real-life contexts in which musical identities have been investigated. The multidisciplinary breadth of the Handbook reflects the changes that are taking place in music, in digital technology, and in their role in society.

The Oxford Handbook of The American Musical offers new and cutting-edge essays on the most important and compelling issues and topics in the growing, interdisciplinary field of musical-theater and film-musical studies. Taking the form of a "keywords" book, it introduces readers to the concepts and terms that define the history of the musical as a genre and that offer ways to reflect on the specific creative choices that shape musicals and their performance on stage and screen. The handbook offers a cross-section of essays written by leading experts in the field, organized within broad conceptual groups, which together capture the breadth, direction, and tone of musicals studies today. Each essay traces the genealogy of the term or issue it addresses, including related issues and controversies, positions and problematizes those issues within larger bodies of scholarship, and provides specific examples drawn from shows and films. Essays both re-examine traditional topics and introduce underexplored areas. Reflecting the concerns of scholars and students alike, the authors emphasize critical and accessible perspectives, and supplement theory with concrete examples that may be accessed through links to the handbook's website. Taking into account issues of composition, performance, and reception, the book's contributors bring a wide range of practical and theoretical perspectives to bear on their considerations of one of America's most lively, enduring artistic traditions. The Oxford Handbook of The American Musical will engage all readers interested in the form, from students to scholars to fans and aficionados, as it analyses the complex relationships among the creators, performers, and audiences who sustain the genre.

The second edition of The Oxford Handbook of Music Psychology updates the original landmark text and provides a comprehensive review of the latest developments in this fast-growing area of research. Covering both experimental and theoretical perspectives, each of the 11 sections is edited by an internationally recognised authority in the area. The first ten parts present chapters that focus on specific areas of music psychology: the origins and functions of music; music perception, responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in everyday life; and music therapy. In each part authors critically review the literature, highlight current issues and explore possibilities for the future. The final part examines how, in recent years, the study of music psychology has broadened to include a range of other disciplines. It considers the way that research has developed in relation to technological advances, and points the direction for further development in the field. With contributions from internationally recognised experts across 55 chapters, it is an essential resource for students and researchers in psychology and musicology.

Conceived as the meanings that individuals attach to their selves, a substantial stockpile of theory related to identities accumulated across the arts, social sciences, and humanities over many decades continues to nourish contemporary research on self-identities in organizations. In times which are more reflexive, narcissistic, and fluid, the identities of participants in organizations are increasingly less fixed and less certain, making identity issues both more salient and more interesting. Particular attention has been given to processes of identity construction, often styled 'identity work'. Research has focused on how, why, and when such processes occur, and their implications for organizing and individual, group, and organizational outcomes. This has resulted in a burgeoning stream of research from discursive, dramaturgical, symbolic, socio-cognitive, and psychodynamic perspectives that most often casts individuals' efforts to fabricate identities as intentional, relational, and consequential. Seemingly intractable debates centred on the nature of identities - their relative stability or fluidity, whether they are best regarded as coherent or fractured, positive (or not), and how they are fabricated within relations of power - combined with other conceptual issues continue to invigorate the field. However, these debates have also led to some scepticism regarding the future potential of identities research. Yet as the chapters in this Handbook demonstrate, there are considerable grounds for optimism that identity, as root metaphor, nexus concept, and means to bridge levels of analysis has significant potential to generate multiple compelling streams of theorizing in organization and management studies.

"Bringing together leading researchers from a variety of academic and applied backgrounds, this book examines how music can be used to communicate, as well as the biological, cognitive, social, and cultural processes which underlie such communication."--BOOK JACKET.

Identity is defined in many different ways in various disciplines in the social sciences and sub-disciplines within psychology. The developmental psychological approach to identity is characterized by a focus on developing a sense of the self that is temporally continuous and unified across the different life spaces that individuals inhabit. Erikson proposed that the task of adolescence and young adulthood was to define the self by answering the question: Who Am I? There have been many advances in theory and research on identity development since Erikson's writing over fifty years ago, and the time has come to consolidate our knowledge and set an agenda for future research. The Oxford Handbook of Identity Development represents a turning point in the field of identity development research. Various, and disparate, groups of researchers are brought together to debate, extend, and apply Erikson's theory to contemporary problems and empirical issues. The result is a comprehensive and state-of-the-art examination of identity development that pushes the field in provocative new directions. Scholars of identity development, adolescent and adult development, and related fields, as well as graduate students, advanced undergraduates, and practitioners will find this to be an innovative, unique, and exciting look at identity development.

In this work, international contributors answer such questions as: what are the aims and objectives of musical education?; what should musical curricula include and how should musical learning be assessed? It also includes an analysis of methods (Suzuki, Kodaly) and issues such as the role of ICT.

Has the virtual invaded the realm of the real, or has the real expanded its definition to include what once was characterized as virtual? With the continual evolution of digital technology, this distinction grows increasingly hazy. But perhaps the distinction has become obsolete; perhaps it is time to pay attention to the intersections, mutations, and transmigrations of the virtual and the real. Certainly it is time to reinterpret the practice and study of music. The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, is the first book to offer a kaleidoscope of interdisciplinary perspectives from scholars around the globe on the way in which virtuality mediates the dissemination, acquisition, performance, creation, and reimagining of music. The Oxford Handbook of Music and Virtuality addresses eight themes that often overlap and interact with one another. Questions of the role of the audience, artistic agency, individual and communal identity, subjectivity, and spatiality repeatedly arise. Authors specifically explore phenomena including holographic musicians and virtual bands, and the benefits and detriments surrounding the free circulation of music on the internet. In addition, the book investigates the way in which fans and musicians negotiate gender identities as well as the dynamics of audience participation and community building in a virtual environment. The handbook rehistoricizes the virtual by tracing its progression from cartoons in the 1950s to current industry innovations and changes in practice. Well-grounded and wide-reaching, this is a book that students of any number of disciplines, from Music to Cultural Studies, have awaited.

The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined. In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.