Table Of Contenti
ROUTLEDGE INTERNATIONAL
HANDBOOK OF MUSIC
PSYCHOLOGY IN EDUCATION
AND THE COMMUNITY
This handbook provides an evidence-b ased account of psychological perspectives on issues
in music education and music in the community through the life course, exploring our
understanding of music learning and participation across contexts.
The contributors draw on multidisciplinary research from different cultures and contexts in
order to set out the implications of music psychology for music education and music in the
community. Highlighting the intersecting issues across education and community contexts, the
book proposes new theories as well as offering important refinements to existing conceptual
models. Split into six parts, it considers the role of music in society as well as for groups and
individuals, and explores topics such as processing and responding to music; pedagogical and
musical practices that support or pose challenges to the emotional, cognitive, social or physical
wellbeing of learners and participants in a range of contexts; and ‘music in identity’ or ‘identity
in music’. With the final part on future directions and the implications for professional practice
in music education and music in the community, the book concludes by exploring how the two
sectors might work more closely together within a post- COVID- 19 world.
Based on cutting- edge research from an international team, this is essential reading for anyone
interested in music psychology, education and community, and it will be particularly helpful
for undergraduate and graduate students in music psychology, music education and community
music.
Andrea Creech is Professor of Music Pedagogy at the Schulich School of Music, McGill
University, Canada. Following an international music performance career, Andrea was awarded
a PhD in Psychology in Education from the Institute of Education, University of London, UK,
where she subsequently was appointed Reader in Education. Andrea’s research has covered
a wide range of issues in formal and informal music education contexts, including interper-
sonal dynamics, informal learning, inclusion, lifelong learning and music for positive youth
development.
Donald A. Hodges, formerly Distinguished Professor of Music at the University of North
Carolina Greensboro, USA, is the author of Music in the Human Experience (2020, 2011) and A
Concise Survey of Music Philosophy (2017). His research efforts have included a series of brain
imaging studies of pianists, conductors and singers using PET and fMRI.
ii
Susan Hallam is Emerita Professor of Education and Music Psychology at the UCL Institute
of Education, UK. She was awarded an MBE in 2015 for her services to music education, a
lifelong achievement award in 2020 for music and drama education, and subsequently life-
long honorary membership of the British Psychological Society, the International Society for
Music Education, MusicMark and the Society for Education, Music and Psychology Research
(Sempre). Her research is based in psychology and education with particular emphases on music,
learning and disaffection.
iii
ROU T L E D G E
I N T E R NAT IONA L
HA N DB O OK OF M U SIC
P SYC HOLO G Y I N
E DU C AT ION A N D T H E
C OM M U N I T Y
Edited by Andrea Creech, Donald A. Hodges
and Susan Hallam
iv
First published 2021
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 selection and editorial matter, Andrea Creech, Donald A. Hodges and Susan Hallam;
individual chapters, the contributors
The right of Andrea Creech, Donald A. Hodges and Susan Hallam to be identified as the
authors of the editorial material, and of the authors for their individual chapters,
has been asserted in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information storage
or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
British Library Cataloguing- in- Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging- in- Publication Data
Names: Creech, Andrea, editor. | Hodges, Donald A., editor. |
Hallam, Susan, editor.
Title: Routledge international handbook of music psychology in
education and the community / edited by Andrea Creech,
Donald A. Hodges, and Susan Hallam.
Description: [1.] | New York: Routledge, 2021. |
Series: Routledge international handbooks |
Includes bibliographical references and index.
Identifiers: LCCN 2020051421 (print) | LCCN 2020051422 (ebook) |
ISBN 9780367271800 (hardback) | ISBN 9780367769819 (paperback) |
ISBN 9780429295362 (ebook)
Subjects: LCSH: Music–Psychological aspects. |
Music–Social aspects. | Music–Instruction and study–Psychological aspects.
Classification: LCC ML3830 .R808 2021 (print) |
LCC ML3830 (ebook) | DDC 781.1/1–dc23
LC record available at https://lccn.loc.gov/2020051421
LC ebook record available at https://lccn.loc.gov/2020051422
ISBN: 978-0-367-27180-0 (hbk)
ISBN: 978-0-367-76981-9 (pbk)
ISBN: 978-0-429-29536-2 (ebk)
Typeset in Bembo
by Newgen Publishing UK
v
CONTENTS
List of figures ix
List of tables x
List of boxes xi
List of contributors xii
Acknowledgements xv
PART I
Introduction and context 1
Introduction 3
Andrea Creech and Donald A. Hodges
1 The social functions of music: Communication, Wellbeing, Art, Ritual,
Identity and Social networks (C-W ARIS) 5
Raymond MacDonald
2 Ruminations on music psychology research 21
Donald A. Hodges
3 The wider cognitive benefits of engagement with music 38
Sylwia Holmes
4 The wider personal and social benefits of engagement with music 52
Albi Odendaal and Donald A. Hodges
5 The health benefits of engaging with music 68
Gunter Kreutz and Urs Nater
v
vi
Contents
PART II
Processing and responding to music 81
Introduction 83
Andrea Creech and Donald A. Hodges
6 Musical processing across the life course 86
Wilfried Gruhn
7 Responses to music 101
Robert Fulford, Alinka Greasley and Karen Burland
8 Listening to, evaluating and appraising music 116
Alexandra Lamont
9 Musical preferences 131
Alexandra Lamont and David Hargreaves
PART III
Acquiring specific music skills 147
Introduction 149
Donald A. Hodges and Andrea Creech
10 Conceptions of musical ability and the expertise paradigm 153
Jane W. Davidson and Stephanie MacArthur
11 Transformational models of music learning 169
Maria Varvarigou and Andrea Creech
12 Learning to play an instrument 185
Katie Zhukov
13 Through singing to music across the life course 201
Annabel J. Cohen
14 Acquiring skills in music technology 217
Ross Purves and Evangelos Himonides
15 Community music learning and creativity 236
Beatriz Ilari, Susan Helfter and Peter Webster
16 Motivation and developing a musical identity 254
Maria Spychiger
17 The role of music performance through the life course 269
Ioulia Papageorgi
18 Health issues for those participating in musical activities 286
Bronwen Ackermann
vi
vii
Contents
PART IV
Pedagogy in education and community music 301
Introduction 303
Donald A. Hodges and Andrea Creech
19 Music pedagogy for large group teaching: The conductor- educator 306
Wendy K. Matthews
20 Working with and in small groups 320
Elaine King
21 Musical engagement in one-t o- one contexts 335
Helena Gaunt, Guadalupe López-Í ñiguez and Andrea Creech
22 Additional needs and disability in musical learning: Issues and
pedagogical considerations 351
David Baker
23 Holding multiple musical identities: The portfolio musician 367
Jennifer Rowley, Anna Reid and Dawn Bennett
24 The role of formative and summative assessment in musical learning and
participation 381
Mathieu Boucher and Andrea Creech
PART V
Support for musical learning 397
Introduction 399
Donald A. Hodges and Andrea Creech
25 The role of the family in supporting musical learning 401
Stephen F. Zdzinski
26 The role of peers in supporting learning in music 418
Siw Graabræk Nielsen and Guro Gravem Johansen
27 The role of technology in mediating collaborative learning in music 433
Aaron Liu- Rosenbaum and Andrea Creech
PART VI
Future directions 449
Introduction 451
Donald A. Hodges and Andrea Creech
vii
viii
Contents
28 Implications for research and practice 1 454
Donald A. Hodges and Andrea Creech
29 Implications for research and practice 2 473
Andrea Creech and Donald A. Hodges
Index 488
viii
ix
FIGURES
1.1 C- WARIS: The social functions of music 6
1.2 Three mechanisms for meaning in musical communication 8
1.3 Reciprocal deterministic explanation of musical engagement 15
10.1 The differentiated model of musical giftedness and talent 155
10.2 Stages for musical development 163
15.1 Intersections between creativity and community music with a focus on
individual, groups, creative process and product and possible outcomes 249
16.1 Sectors of musical activity related to societal opportunities and to
varieties of musical motivation and development in musically active
individuals 260
22.1 Left to right: Graphic representation of the LRA matrix and a
conductor’s gesture, an LRA and the haptic vest 360
23.1 Student self- assessment by gender, scaled to a 10-p oint Likert- style scale 374
25.1 Hoover- Dempsey and Sandler’s (1997) model of parental involvement 403
25.2 Zdzinski and Russell’s (2014) SEM model of the influence of parental
involvement/ home music environment, parenting style and psychosocial
maturity on musical success and academic success 406
25.3 Colon- Leon’s (2018) SEM model predicting school-b ased parental
involvement for special learners in music 412
28.1 Four phases of music psychology research 455
28.2 Personal protective equipment for singers 462
28.3 Oboist wearing a mask 464
28.4 Horn bell cover 465
28.5 The Boise Baroque Orchestra, conducted by Robert Franz 467
28.6 Karlin Coolidge, principal flutist of the Boise Baroque Orchestra 468
ix
