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Readership: Students and researchers in psychology, music, education
Edited by Irène Deliège, University of Liège, Belgium, and Jane Davidson, University of Western Australia, Australia
Irène Deliège obtained her qualifications at the Royal Conservatory of Brussels. After a twenty year career as a music teacher, she retrained in psychology and obtained her PhD in 1991 from the University of Liège where she was responsible for the Unit of Research in Psychology of Music. A founding member of ESCOM, she has acted since its inception as permanent secretary and Editor of the Journal MUSICÆ SCIENTIÆ. She is the author of several articles and co-edited books dedicated to music perception.
Jane Davidson is the current Callaway/Tunely Chair of Music at the University of Western Australia. She has published extensively within psychology of music with research topics including expressive body movement, collaborative performance, music learning and ability, and singing. Her first academic appointment was at University of Keele between 1991-1993, where she worked as a post-doctoral fellow with John Sloboda and Michael Howe on an innovatory study of the biographical determinants of musical abilities. This led to more than 20 joint peer-reviewed publications.
Jane Davidson and Irène Deliège: Prelude
John Sloboda and his contribution
1: Michel Imberty: Music, linguistics and cognition
2: Eric Fillenz Clarke: 'What are the important questions?' A reflection
Motivating Musical Lives
3: Susan O'Neill: Developing a young musician's growth mindset: the role of motivation, self-theories and resiliency.
4: Alexandra Lamont: Negotiating Music in the Real World: development, motivation, process and effect
5: Jane Davidson: Musical Participation: Expectations, Experiences and Outcomes
Music and Emotion
6: Alf Gabrielsson: How do Strong Experiences with Music (SEM) relate to experiences in everyday listening to music?
7: Patrik N. Juslin: Music and Emotion: Seven Questions, Seven Answers
Sloboda's Recall Paradigm
8: Mario Baroni, Rossana Dalmonte and Roberto Caterina: Perception of melody. An empirical approach
9: Daniel Muellensiefen and Geraint A. Wiggins: Sloboda's recall paradigm for melodic memory: A new, computational perspective
Musical Achievement and Expertise
10: Frederick A. Seddon: Musical encounters of the temporary kind
11: Antonia Ivaldi: Routes to Adolescent Musical Expertise
12: Reinhard Kopiez: The musical child prodigy (Wunderkind) in music history: A historiometric analysis
13: Adam Ockelford: : Evidence from a Savant of how Atonal Music is Processed in Cognition'
Examining Musical Performance
14: Nicholas J. Cook: Off the record: performance, history, and musical logic
15: Andreas Lehmann: Expressive Variants in the Opening Robert Schumann's Arlequin (from Carnaval, op. 9): 54 Pianists' Interpretations of a Metrical Ambiguity
16: Geoff Luck: Quantifying the beat-inducing properties of conductors' temporal gestures, and conductor-musician synchronization
17: Jane Ginsborg and Roger Chaffin: Performance cues in singing: Evidence from practice and recall
Music and cultural integration
18: Arild Bergh: Emotions in motion: Transforming conflict with the help of music
19: Richard Parncutt and Angelika Dorfer: The role of music in the integration of cultural minorities
Irène Deliège: Postlude