Useful work has been done in recent years in the areas of music psychology, philosophy and education, yet this is the first book to provide a wide assessment of what practical benefits this research can bring to the music practitioner. With 25 chapters by writers representing a broad range of perspectives, this volume is able to highlight many of the potential links between music research and practice. The chapters are divided into five main sections. Section one examines practitioners use of research to assist their practice and the ways in which they might train to become systematic researchers. Section two explores research centred on perception and cognition, while section three looks at how practitioners have explored their everyday work and what this reveals about the creative process. Section four focuses on how being a musician affects an individual‘s sense of self and the how others perceive him or her. The essays in section five outline the new types of data that creative researchers can provide for analysis and interpretation. The concluding chapter discusses that key question - what makes music affect us in the way it does? The research findings in each chapter provide useful sources of data and raise questions that are applicable across the spectrum of music-related disciplines. Moreover, the research methodologies applied to a specific question may have broader application for readers wishing to take on research themselves.

Music therapists, as in medical and paramedical professions, have a rich diversity of approaches and methods, often developed with specific relevance to meet the needs of a certain client population. This book reflects the many components of such diversity, and is a thoroughly comprehensive guide to accessing and understanding the ideas, theory, research results and clinical outcomes that are the foundations of this field. Providing a detailed insight into the field of music therapy from an international perspective, this book enables the reader to see the complete picture of the multifaceted and fascinating world that is music therapy.

Useful work has been done in recent years in the areas of music psychology, philosophy and education, yet this is the first book to provide a wide assessment of what practical benefits this research can bring to the music practitioner. With 25 chapters by writers representing a broad range of perspectives, this volume is able to highlight many of the potential links between music research and practice. The chapters are divided into five main sections. Section one examines practitioners? use of research to assist their practice and the ways in which they might train to become systematic researchers. Section two explores research centred on perception and cognition, while section three looks at how practitioners have explored their everyday work and what this reveals about the creative process. Section four focuses on how being a musician affects an individual?s sense of self and the how others perceive him or her. The essays in section five outline the new types of data that creative researchers can provide for analysis and interpretation. The concluding chapter discusses that key question - what makes music affect us in the way it does? The research findings in each chapter provide useful sources of data and raise questions that are applicable across the spectrum of music-related disciplines. Moreover, the research methodologies applied to a specific question may have broader application for readers wishing to take on research themselves.

Becoming a Music Teacher: Student to Practitioner is the first book to make connections between the college music classroom and public school music classroom transparent, visible, and relevant. Award-winning music educators Donald L. Hamann and Shelly Cooper offer here an ideal and versatile resource for music teacher education.

Music therapy is growing internationally to be one of the leading evidence-based psychosocial allied health professions to meet needs across the lifespan. This is a comprehensive text on this topic. It presents exhaustive coverage of music therapy from international leaders in the field

Bio-Guided Music Therapy explores the clinical integration of music and biofeedback, providing the practitioner with a rationale, historical context and detailed step-by-step instructions for implementing real-time physiological data driven music therapy. This practical guide introduces the fundamental principles of biofeedback and explores the use of music therapy interventions in the context of achieving skills in self-regulation of physiological response. The book looks at the primary modalities of biofeedback, in conjunction with the assignment of digitally sampled musical voices to specific body functions. Additional music therapy interventions discussed include guided imagery to music, toning, mantra meditation, drumming and improvisation. We see how physiological data taken in the moment and combined with music therapy techniques, may be successfully applied to the treatment of stress, anxiety, high blood pressure, chronic pain, dementia, migraine, ADHD and addictions. Instructive and accessible, this book will prove an essential resource for students and practitioners of music therapy, biofeedback practitioners, social workers, psychologists and healing arts professionals.

An anthology of voicework techniques. It explores the information the practitioner needs to know in order to bring about successful interventions across a range of client groups. It is suitable for music therapy students or practitioners looking to explore the use of voicework in music therapy.

Music law involves several key substantive areas of law copyrights, trademarks, and identity rights, to name a few. While traditional entities such as songwriters and record companies have always existed, technological advances in digital distribution have brought important new players into the mix. Concerns about the usage rights of digital music have emerged as well as agreements arising from the use of music in advertising and branding. Inexpensive duplication technology, the portability and ubiquity of mobile music devices, and the ease of transmitting digital files have also become areas of concern. Music Law for the General Practitioner provides lawyers with comprehensive information on the business and legal topics that are likely to be encountered when representing a musical talent, producer, or consumer. Topics include: - Music publishing - Financing of bands - Record companies and producers - Agents - Taxes - Musicians estate

Are you a music teacher struggling to connect with your students with special needs? Perhaps you are a director of a specialized school in search of better quality music programming for the students you serve. Maybe you are a parent attempting to connect to your child with special needs through music. Creative Miracles: A Practitioner's Guide to Adaptive Music Instruction provides an in-depth look at the adaptive music classroom and offers practical strategies and suggestions for ways music can be adapted for those who are Deaf and Hard of Hearing with disabilities, and for those who have cognitive, intellectual, and other related disabilities. Written from the perspective of an experienced, passionate adaptive music teacher who has served in the teaching trenches, this book initiates a long overdue conversation about the landscape of adaptive music instruction and the ways it can be transformed.

Music and/as Process brings together ideas about music and the notion of process from different sub-fields within musicology and from related fields in the creative arts as a whole. These can be loosely categorised into three broad areas – composition, performance and analysis – but work in all three of these groups in the volume overlaps into the others, covers a broad range of other musicological sub-fields, and draws inspiration from, non-musicological fields. Music and/as Process comprises chapters written by a mix of scholars; some are leaders in their field and some are newer researchers, but all share an innovative and forward-thinking attitude to music research, often not well represented within ‘traditional’ musicology. Much of the work represented here started as papers or discussions at one of the Royal Musical Association (RMA) Music and/as Process Study Group Annual Conferences. The first section of the book deals with the analysis of performance and the performance of analysis. The historical nature of music and the recognition of pieces as musical ‘works’ in the traditional sense is questioned by the authors, and is a factor in the analyses which address processes in composing, performing, and listening, and the links between these, in three very different but interlinking ways. These three approaches posit new directions and territory for musical analysis. The second section builds on the first, framing performance and/as process from the individual perspectives of the authors and their experiences as practitioners. Music by Berio, de Falla, music by the authors and their collaborators, and music composed for the authors are explored through looking at processes of interpretation and risk; processes which further undermine the ontology of the musical ‘work’ as traditionally understood, and bring the practitioner as active agent to the foreground of an examination of musical discourse. The third section encounters and questions the musical ‘work’ at its inception, exploring composition and/as process through its encounters with performance, analysis, collaboration, improvisation, translation, experimentation and cross-disciplinarity. Through explorations of new music, the way in which practitioners relate to music frame a personal and reflective account of the creative process, finally looking beyond music to musicology.