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. The book is divided into seven main sections. The first, 'Sociological, discursive and narrative approaches', includes several general theoretical accounts of musical identities from this perspective, as well as some more specific investigations. The second and third main sections deal in depth with two of the three psychological topics described above, namely the development of and individual differences in musical identities. The fourth, fifth and sixth main sections pursue three of the real-life contexts identified above, namely 'Musical institutions and practitioners', 'Education', and 'Health and well-being'. The seventh and final main section of the Handbook - 'Case studies' - includes chapters which look at particular musical identities in specific times, places, or contexts. The multidisciplinary range and breadth of the Handbook's contents reflect the rapid changes that are taking place in music, in digital technology, and in their role in society as a whole, such that the study of musical identity is likely to proliferate even further in the future.

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 Music Composition Pedagogy presents an illuminating collection of philosophy, research, applied practice, and international perspectives to highlight the practices of teaching and learning in the field of music composition. The Handbook offers various strategies and approaches in composition for teachers, music teacher educators, and students of music education.

Certificate for Music Educators Guidebook is focused on the learning outcomes of the Certificate for Music Educators in the UK, accredited by the Office of Qualifications and Examinations Regulation (Ofqual), and validated by Trinity College London (TCL) and the Associated Board of the Royal Schools of Music (ABRSM). Through reflective questions, readers become acquainted with research findings relevant to teaching children and explore ways for enacting best teaching practice in day-to-day teaching. It offers strong foundations in teaching music in contemporary diverse settings, in both instrumental and vocal teaching; early years, primary and secondary schools and community-based contexts. This book is directly aligned with the CME Level 4 course modules, units and areas of study and its desired learning outcomes. It is a key companion for students enrolled in a validated centre, as well as the teachers and mentors involved in the design and delivery of the CME.

Sonic Identity at the Margins convenes the interdisciplinary work of 17 academics, composers, and performers to examine sonic identity from the 19th century to the present. Recognizing the myriad aspects of identity formation, the authors in this volume adopt methodological approaches that range from personal accounts and embodied expression to archival research and hermeneutic interpretation. They examine real and imagined spaces-from video games and monument sites to films and depictions of outer space-by focusing on sonic creation, performance, and reception. Drawing broadly from artistic and performance disciplines, the authors reimagine the roles played by music and sound in constructing notions of identity in a broad array of musical experiences, from anti-slavery songsters to Indigenous tunes and soundscapes, noise and multimedia to popular music and symphonic works. Exploring relationships between sound and various markers of identity-including race, gender, ability, and nationality-the authors explore challenging, timely topics, including the legacies of slavery, indigeneity, immigration, and colonial expansion. In heeding recent calls to decolonize music studies and confront its hegemonic methods, the authors interrogate privileged perspectives embedded in creating, performing, and listening to sound, as well as the approaches used to analyze these experiences.

The Oxford Handbook of Music Psychology is the definitive, comprehensive, and authoritative text on this burgeoning field. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. It will be an essential resource for students and researchers in psychology.

Building on her earlier work, 'The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People', this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well-signposted text with helpful subheadings, 'The Power of Music: An Exploration of the Evidence' gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music’s relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. 'The Power of Music' defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.

This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monroe. Ranging in context from the opera house through the concert hall to the salon, and from establishment cultures to counter-cultural products, the main focus is how music permits new ways of considering issues of nationality, class, race, and gender. These essays - three presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond.

Offering a comprehensive handbook of musical development from conception to late adolescence, this book deals with the many different ways in which children can engage in and interact with music. Useful for both students and researchers, it also shows the ways in which music can affect the quality of life in communities throughout the world.

How do young people evaluate music today? What does music mean to them? Where, and in what circumstances, does their encounter with music occur? It is in order to obtain answers to these questions, though chiefly in order to elucidate the relation of young people to music in general, that the Experience and Music Teaching (EMT) project has been carried on at the School of Music, Orebro University, Sweden, with the support of the National Agency for Education. The focus is on problems to do with young people's musical experience and music teaching in relation to cultural conditions and transcultural processes. The young people test and evaluate the music teaching they receive on the basis of their own experience. In their world there are no sharply defined boundaries between subjects, no dissection of subjects into fragments. Music for them is linked with the person and the interaction with the world around. The young people move in both a local and a global world and there is an interplay and relation between the cultural manifestations deriving from these two worlds.