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Music Learning and Teaching in Infancy, Childhood, and Adolescence: An

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An Oxford Handbook of Music Education, Paperback
Volume 2 This item is not yet
Table of Contents published, but may be pre-
Edited by Gary McPherson and Edited by Graham
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Welch
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Explores the diversity and richness of children's Published: 28 June 2018

(Estimated)
early musical engagement as a resource for further
learning 368 Pages | 30 line, 3
halftone, 11 combo
Tackles key issues, concepts, and debates that
impact the musical experiences and development 248x171mm
of adolescents
ISBN: 9780190674595
Discusses how music educators can best meet the
needs of and empower young people of all ages
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Music Learning and Teaching in Infancy, Childhood, and Adolescence is one of five paperback
books derived from the foundational two-volume Oxford Handbook of Music Education.
Designed for music teachers, students, and scholars of music education, as well as
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educational administrators and policy makers, the second book in this set explores a broad
array of key issues, concepts, and debates related to music learning and teaching in three
phases of a child's development. Sign Up for Email

The first section provides an expanded view of infancy and early childhood, embracing a key
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theme that most young children's early music-making is improvised and used to
communicate with others and the self. These chapters demonstrate the importance of
"motherese" or "parentese" to young children's overall development, the extraordinary
diversity and richness of children's early musical engagement, and how this can be viewed
as a resource for further learning.

The second section is devoted to the learning and teaching of music during the middle years
of childhood, when music is often a mandated part of the school curriculum. While
recognizing the enormous cultural and national differences, chapters in this section give an
overview of many varied and innovative forms of musical learning and teaching globally. The
authors address issues related to the types of teachers who provide music instructions to
children internationally, how they were educated and trained, and how various nations
organize their curriculum in ways that provide children with access and opportunities to
engage with music in the classroom.
The third section focuses on the musical experiences and development of adolescents aged
12 to 18. These chapters explore the role of music in the lives of young people-including how
they use and relate to music, how music educators can best meet students' needs, and the
types of musical engagement that can either empower or disempower students through
involvement in school music.

Contributors
Mayumi Adachi, Randall Everett Allsup, Janet R. Barrett, Margaret S. Barrett, Brydie-Leigh
Bartleet, Lily Chen-Hafteck, Richard Colwell, Sharon G. Davis, George M. DeGraffenreid,
Steven C. Dillon, Magne I. Espeland, Martin Fautley, Eve Harwood, Lee Higgins, Beatriz Ilari,
Neryl Jeanneret, Chee-Hoo Lum, Stephen Malloch, Esther Mang, Kathryn Marsh, Gary E.
McPherson, Oscar Odena, Chris Philpott, S. Alex Ruthmann, Eric Shieh, Gary Spruce,
Johannella Tafuri, Sandra E. Trehub, Colwyn Trevarthen, Kari K. Veblen, Graham F. Welch,

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Heidi Westerlund, Jackie Wiggins, Ruth Wright, Susan Young

Table of Contents
PART 1
Music learning and teaching in infancy and early childhood
Part Editor: Margaret S. Barrett
Chapter 1. Commentary: Music learning and teaching in infancy and
early childhood
Margaret S. Barrett
Chapter 2. Musical lives of infants
Mayumi Adachi and Sandra E. Trehub
Chapter 3. Musicality and musical culture: Sharing narratives of sound
from early childhood
Colwyn Trevarthen and Stephen Malloch
Chapter 4. Music and language in early childhood development and learning
Lily Chen-Hafteck and Esther Mang
Chapter 5. Musical participation from birth to three: Toward a global perspective
Susan Young and Beatriz Ilari
Chapter 6. Creative meaning-making in infants' and young children's musical cultures
Margaret S. Barrett and Johannella Tafuri
Part 2
Music learning and teaching during childhood:
Ages 5-12
Part Editor: Kathryn Marsh
Chapter 7. Commentary: Music learning and teaching during childhood: Ages 5-12
Kathryn Marsh
Chapter 8. Children's ways of learning inside and outside the classroom?
Eve Harwood and Kathryn Marsh
Chapter 9. Creating in music learning contexts
Jackie Wiggins and Magne I. Espeland
Chapter 10. Meaningful connections in a comprehensive approach to the music curriculum
Janet R. Barrett and Kari K. Veblen
Chapter 11. Multiple worlds of childhood: Culture and the classroom
Chee-Hoo Lum and Kathryn Marsh
Chapter 12. Music education in the generalist classroom
Neryl Jeanneret and George M. DeGraffenreid
Chapter 13. Instrumental ensemble learning and performance in
primary and elementary schools
Sharon G. Davis
Part 3
Music learning and teaching during adolescence:
Ages 12-18
Part Editor: Oscar Odena and Gary Spruce
Chapter 14. Commentary: Music learning and teaching during adolescence: Ages 12-18
Oscar Odena and Gary Spruce
Chapter 15. Teaching, learning, and curriculum content
Chris Philpott and Ruth Wright
Chapter 16. Youth culture and secondary education
Randall Everett Allsup, Heidi Westerlund, and Eric Shieh
Chapter 17. Assessment in the secondary music classroom
Martin Fautley and Richard Colwell
Chapter 18. The community music facilitator and school music education
Lee Higgins and Brydie-Leigh Bartleet
Chapter 19. Creativity in the secondary music classroom
Oscar Odena
Chapter 20. Technology in the lives and schools of adolescents
S. Alex Ruthmann and Steven C. Dillon

Author Information
Edited by Gary McPherson, Ormond Chair and Director, Melbourne Conservatorium of
Music, The Universityof Melbourne, and Edited by Graham Welch, Chair of Music Education,
UCL Institute of Education, University College London

Gary E. McPherson studied music education at the Sydney Conservatorium of Music, before
completing a master of music education at Indiana University, a doctorate of philosophy at
the University of Sydney, and a Licentiate and Fellowship in trumpet performance through
Trinity College, London. He is the Ormond Professor and Director of the Melbourne
Conservatorium of Music at the University of Melbourne, and has served as National

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President of the Australian Society for Music Education and President of the International
Society for Music Education. His research interests are broad and his approach
interdisciplinary. His most important research examines the acquisition and development of
musical competence, and motivation to engage and participate in music from novice to
expert levels. With a particular interest in the acquisition of visual, aural and creative
performance skills he has attempted to understand more precisely how music students
become sufficiently motivated and self-regulated to achieve

Graham F. Welch holds the University College London (UCL) Institute of Education
Established Chair of Music Education. He is elected Chair of the internationally based Society
for Education, Music and Psychology Research (SEMPRE), a former President of the
International Society for Music Education (ISME), and past co-chair of the Research
Commission of ISME. Current Visiting Professorships include the Universities of Queensland
(Australia), Guildhall School of Music and Drama, and Liverpool (UK). He is an ex-member of
the UK Arts and Humanities Research Council's (AHRC) Review College for music and has
been a specialist consultant for Government departments and agencies in the UK, Italy,
Sweden, USA, Ukraine, UAE, South Africa and Argentina. Publications number over three
hundred and fifty and embrace musical development and music education, teacher
education, the psychology of music, singing and voice science, and music in special
education and disability. Publications are in English, Spanish, Po

Contributors:

Mayumi Adachi is professor of music psychology at Hokkaido University, Japan. Following her
career as a piano teacher, she obtained master's degrees in music education at Teachers
College, Columbia University. After completing a doctorate degree in psychomusicology at
the University of Washington, she worked as a postdoctoral fellow at the Infant Studies
Laboratory, University of Toronto at Mississauga, and took an associate professor position in
music education at Yamanashi University, Japan. Her research interests reflect her
interdisciplinary background, including musical communication, sight-reading, singing
development, and the role of music in infancy and early childhood development. She
currently serves as an associate editor of Frontiers in Psychology: Performance Science, a
consulting editor of Psychomusicology: Music, Mind, and Brain, and an editorial board
member of Psychology of Music.

Randall Everett Allsup holds degrees in music and music education from Northwestern
University and Columbia University. He is associate professor of music and music education
at Teachers College Columbia University in New York City. Allsup also has a dual appointment
at the Arts College of Xiamen University, Fujian Province, China. His scholarship has been
influenced by thinkers such as John Dewey, Paulo Freire, and Maxine Greene. He is the
recipient of a Fulbright research award, Outstanding Teacher award at Columbia University,
and Outstanding Dissertation for "Crossing Over: Mutual Learning and Democratic Action in
Instrumental Learning." He is also past chair of the International Society for the Philosophy
of Music Education.

Janet R. Barrett holds bachelor's and master's degree from the University of Iowa and a
doctorate of philosophy from the University of Wisconsin-Madison. She is the Marilyn
Pflederer Zimmerman Endowed Scholar in Music Education at the University of Illinois at
Urbana-Champaign. Her research interests include the reconceptualization of the music
curriculum, secondary general music, interdisciplinary approaches in education involving
music, and music teacher education and professional development. Recent publications
include Constructing a Personal Orientation to Music Teaching (Routledge, co-authored with
Mark Robinn Campbell & Linda Thompson), The Musical Experience: Rethinking Music
Teaching and Learning (OUP, with Peter R. Webster), and chapters in the Oxford handbooks
for qualitative research and social justice in music education. Dr. Barrett has also served on
the faculty of Northwestern University and the University of Wisconsin-Whitewater. She is a
past chair of the Society for Music Teacher Education, a co-editor of the Mountain Lake
Reader, and editor of the Bulletin for the Council of Research in Music Education.

Margaret S. Barrett is Professor and Head of the School of Music at The University of
Queensland. Following under-graduate and graduate coursework study at The University of
Tasmania in Music and Music Education she completed a PhD at Monash University. Her
research investigates young children's musical thought and activity as composers and
notators, singers and song-makers; children's communities of musical practice; cultural
psychological perspectives of musical engagement; the pedagogies of creativity and
expertise, and, narrative inquiry in music education. Her research has been funded by grants
from The Australian Research Council, The Australian Council for the Arts and the British
Academy. She has published in the key journals and major handbooks of the discipline.
Recent publications include Collaborative Creative Thought and Practice in Music (2014,
Ashgate) and A cultural psychology of music education (2011, OUP). She has served as
President of the International Society for Music Education and Chair of the World Alliance for
Arts Education. Awards include a Fulbright Senior Research Fellowship (2017 - 2018), The
University of Queensland Award for Excellence in Research Higher Degree Supervision
(2016), and the Fellowship of the Australian Society for Music Education (2011).

Associate Professor Brydie-Leigh Bartleet is Director of the Queensland Conservatorium

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Research Centre and Deputy Director (Research) at the Queensland Conservatorium Griffith
University, Australia. She has worked on a range of national and international projects in
community music, arts-based service learning with Australian First Peoples, intercultural
community arts, and arts programs in prison. Many of these projects have been realized in
partnership with a wide range of NGOs, arts and community organizations, and colleagues
across Australia and the Asia Pacific. She has worked on four successive ARC Linkage
projects, led a major OLT Innovation and Development project, secured over a millions
dollars in research funding, and produced well over a 100 research outputs. In 2014 she was
awarded the Australian University Teacher of the Year. She was the Co-Chair of the
International Society for Music Education's Community Music Activities Commission, co-
founder of the Asia Pacific Community Music Network, and serves on the Board of Music
Australia. She is Associate Editor of the International Journal of Community Music and serves
on the editorial board of the International Journal of Music Education - Practice.

Lily Chen-Hafteck holds a doctorate in music education from the University of Reading, U.K.
She is professor of music education at the University of California, Los Angeles (UCLA) and
has held teaching and research positions at Kean University, USA, University of Pretoria,
South Africa, University of Surrey Roehampton, U.K., Hong Kong Baptist University, and
University of Hong Kong. As a Fulbright scholar, her research interests include music and
language in early childhood, children's singing and multicultural music education. She is a
co-investigator/ team-leader of the Advancing Interdisciplinary Research in Singing (AIRS)
project, and the founder/ director of the Educating the Creative Mind project that advocates
arts-based education for children. She has held positions of the International Society for
Music Education as member of its Board of Directors, chair of its Young Professionals Focus
Group and Early Childhood Commission, and serves as World Music Representative of the
California Music Educators Association.

Richard Colwell holds a Bachelor of Fine Arts and Master of Music from the University of
South Dakota and Ed.D. from the University of Illinois. He was the founder and editor of the
Bulletin of the Council for Research in Music Education and The Quarterly. He was chair of
music education at the University of Illinois, Boston University, and the New England
Conservatory of Music. He is a recipient of the MENC-National Association of Music Education
hall of fame award, was recognized for his life-time contribution to music education by the
largest music association-the Federated Music Clubs. He received an honorary doctorate of
humane letters from the University of South Dakota, was the recipient of a John Simon
Guggenheim fellowship, the Horace Porter Award for distinguished scholarship and was the
first honorary member of the Chopin Academy's Institute for Research. He is the editor of
the Handbook of Research in Music Education and co-editor, with Carol Richardson of the
New Handbook of Research in Music Education. He edited with Patrick Schmidt a handbook
of policy and political life and two handbooks with Peter Wester on music learning.

Sharon G. Davis is the Director of Music Education at Lebanon Valley College where she
teaches undergraduate and graduate courses in music education and is Curriculum Director
and advisor for the graduate program. She has had diverse teaching experiences in
elementary and secondary general music, choral and instrumental music in the United States
and in International schools in Germany, Switzerland, and Singapore. She has published in
the International Journal of Education and the Arts, Research Studies in Music Education and
the International Journal of Music Education. Her contributions to edited books include
Learning, teaching and musical identity: Voices from across cultures, Lucy Green (Ed.), The
Child as Musician, 2nd edition, Gary McPherson (Ed.) and Musicianship: Composing in band
and orchestra, (Clint Randles and David Stringham (Ed.). Her research interests include
music education in relation to informal learning, popular music, identity, and the aesthetic
experiences of children.

George M. DeGraffenreid studied music education at the University of Colorado, Boulder,

before completing a master's of music education at California State University, Los Angeles
and a doctorate of philosophy at the University of Washington. He is professor of music
education and former Chair of the Department of Music at California State University, Los
Angeles. His research interests are in teacher education and music curriculum delivery and
development. His most important research examines the acquisition and development of
teacher confidence to teach music in regular classroom settings, and the development and
assessment of cross-cultural music curricula in secondary music classrooms. His principal
publications are in secondary general music, music teacher education and music education
policy. He has served as Western Division President of MENC: The National Association for
Music Education and President of CMEA: The California Association for Music Education.

Steven C. Dillon died in April 2012, soon after finishing his original contribution to the OHME.
He studied music education at the University of South Australia, before completing a master
of music education and a doctorate of philosophy at La Trobe University in Melbourne. He
combined a career as a professional singer songwriter with school music teaching. Steve was
a senior lecturer in Music and Sound at Queensland University of Technology, director of save
to DISC Research Network and project Leader of the Network Jamming Research Group. He
was series editor of the meaningful music making for life book series, reviewer for
international journals, president of the Musicological Society of Australia Queensland branch,
and an active affiliate of ISME and ASME. His research interests focussed on meaningful

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engagement with music making and designing digital media technologies and relational
pedagogies to provide access to cognitive growth, health and wellbeing through music
making.

Magne I. Espeland studied music education as a graduate student at Bergen University

College before moving on to the University of Trondheim where he completed a master's in
musicology. Later he completed his doctorate of philosophy on compositional processes in
the music classroom at the Danish School of Education, University of Aarhus. He is professor
of music and education at Western Norway University of Applied Sciences and the present
chair of MusicNet West, a music higher education network in Western Norway. His research
in music education includes music listening, music composition and music technology.
Currently, he chairs a research program in creativity and culture education, where he also is
principal investigator in national projects on improvisation in teacher education and
innovation of school concert practices. He is one of the founders of the Grieg Research
School in Interdisciplinary Music Studies and has served as a commission chair, main
conference organiser and board member of the International Society of Music Education.

Professor Martin Fautley is director of research in the School of Education and Social Work at
Birmingham City University in the UK. After many years as a classroom music teacher, he
then undertook full-time doctoral research in the education and music faculties at Cambridge
University, investigating teaching, learning, and assessment of classroom music making. His
main area of research is assessment in music education, but he also investigates
understandings of musical learning and progression. He is the author of eight books,
including Assessment in Music Education, published by Oxford University Press, and has
written and published over fifty journal articles, book chapters, and academic research
papers. He is co-editor of the British Journal of Music Education.

Eve Harwood received a bachelor's degree in English at McMaster University and associate
diplomas in piano performance and voice pedagogy from the Royal Conservatory of Toronto.
After teaching music in Ontario classrooms for several years she completed a master's of
music education at the University of Western Ontario and a doctorate in music education at
the University of Illinois. She currently holds emerita status with the School of Music at
Illinois where she served as associate professor and associate dean of the College of Fine
and Applied Arts. Her research interests stem from questions that arose in her teaching
career, namely how children learn to become music makers and how young adults learn to
become music teachers. Her published research includes studies of informal music learning,
teacher education, arts curricula in higher education and children's playground music.

Professor Lee Higgins is the Director of the International Centre of Community Music based
at York St John University, UK. He has held previously positions at Boston University, USA,
Liverpool Institute for Performing Arts, UK and the University of Limerick, Ireland. Lee has
been a visiting professor at Ludwig Maximilian University, Munich, Germany and Westminster
Choir College, Princeton, USA. He received his PhD from the Irish Academy of Music and
Dance, Ireland and is the President of International Society of Music Education (2016-2018).
As a community musician he has worked across the education sector as well as within health
settings, prison and probation service, youth and community, adult education, and arts
organizations such as orchestras and dance. As a presenter and guest speaker, Lee has
worked on four continents in university, school, and NGO settings. He is the senior editor for
the International Journal of Community Music and was author of Community Music: In
Theory and in Practice (2012, Oxford University Press), co-author of Engagement in
Community Music (2017, Routledge) and co-editor of The Oxford Handbook of Community
Music (2017).

Beatriz Ilari earned a bachelor's degree in music education from the University of São Paulo,
a master's degree in violin from Montclair State University, and a PhD in music education
from McGill University. Following appointments at the Federal University of Paraná and the
University of Texas in Austin (Lozano Long visiting professor of Latin American Studies),
since 2011 she is an assistant professor of music education at the University of Southern
California. She also supervises graduate student work at the State University of Campinas
(UNICAMP) in Brazil. Her research is interdisciplinary in nature and includes projects on
music perception and cognition across the lifespan; musical development, learning and
enculturation; music in everyday life of children and adults, and alternative models of music
teaching and learning. At present, she is co-editor of the International Journal of Music
Education of the International Society for Music Education (ISME).

Neryl Jeanneret studied undergraduate music at the University of Sydney, followed by a

diploma of education, a master of education, and a doctor of philosophy. She is the Head of
Music Education in Arts Education in the Melbourne Graduate School of Education. Neryl has
served as national president of the Australian Society of Music Education, the chair of the
International Society for Music Education's policy commission, and chief examiner of music
for the Board of Studies, NSW. Her current research focuses on engagement, the impact of
arts partnerships in schools and other settings, effective teaching models for the preparation
of preservice primary generalists and pedagogy in the music clasroom. She has been
involved in curriculum writing and assessment K - 12 as well as development of teacher
support materials for organizations such as the Department of Education and

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Training(Victoria), Opera Australia, the Department of Education (NSW), Musica Viva, and
the Sydney Symphony Orchestra.

Chee-Hoo Lum is Associate Professor in music education with the Visual & Performing Arts
Academic Group at the National Institute of Education (NIE), Nanyang Technological
University, Singapore. He is also the Head of UNESCO-NIE Centre for Arts Research in
Education (CARE), part of a region-wide network of observatories stemming from the
UNESCO Asia-Pacific Action Plan. Chee-Hoo's research interests include children's musical
cultures and their shifting musical identities; the use of media and technology by children, in
families, and in pedagogy; creativity and improvisation in children's music; elementary
music methods and world musics in education.

Stephen Malloch studied musicology at the Sydney Conservatorium of Music, going on to

gain a masters in music theory & analysis from Kings College London and a doctorate in
music and psychoacoustics from the University of Edinburgh. This was followed by a
postdoctoral fellowship in the department of psychology at the University of Edinburgh and
then a research fellowship at the University of Western Sydney (UWS) investigating the non-
verbal communication between infants and their parents. He holds a position of Adjunct
Fellow at MARCS Auditory Laboratories at UWS. His research interests have focused primarily
on the 'communicative musicality' of human interaction - the study of how we shape time
expressively and communicatively using gestures of voice and body. He now works privately
as a counselor, career coach and executive coach, facilitating workshops in communication,
leadership development and how to navigate uncertainty.

Esther Mang received her doctorate at the University of British Columbia, Canada, where she
also taught music education courses and offered early childhood music programs. She is
Associate Professor of the Department of Music, Hong Kong Baptist University and lectures in
Music Education and Neuroscience in Music. Her research interests are inter-disciplinary,
encompassing child psychology, speech science and vocal development. She examines the
longitudinal interactions between music, language, and cognitive development in early
childhood. She is particularly interested in language specific music behaviours in Chinese
children and how neuroscientific findings inform research on early childhood music teaching
and learning. She is a member of the Society for Neuroscience (SfN), the International Brain
Research Organization (IBRO), and the American Psychological Association (APA).

Kathryn Marsh holds an honors degree in music, diploma of education, and doctorate of
philosophy in ethnomusicology from the University of Sydney. She is professor of music
education at the Sydney Conservatorium of Music, University of Sydney, where she lectures
in research methods, primary music education and cultural diversity in music education. She
has conducted cross-cultural research into children's musical play and creativity in Australia,
Europe, the UK, USA and Korea, most recently exploring the role of music in the lives of
refugee children. She is editor of Research Studies in Music Education and has written
numerous scholarly publications, including The Musical Playground: Global Tradition and
Change in Children's Songs and Games, published by Oxford University Press and winner of
the Folklore Society's Katherine Briggs Award and American Folklore Society's Opie Award.

Gary E. McPherson studied music education at the Sydney Conservatorium of Music, before
completing a master of music education at Indiana University, a doctorate of philosophy at
the University of Sydney and a Licentiate and Fellowship in trumpet performance through
Trinity College, London. He is the Ormond Professor and Director of the Melbourne
Conservatorium of Music and has served as National President of the Australian Society for
Music Education and President of the International Society for Music Education. His research
interests are broad and his approach interdisciplinary. His most important research examines
the acquisition and development of musical competence, and motivation to engage and
participate in music from novice to expert levels. With a particular interest in the acquisition
of visual, aural and creative performance skills he has attempted to understand more
precisely how music students become sufficiently motivated and self-regulated to achieve at
the highest level.

Oscar Odena studied music education and psychopedagogy in Lleida, Spain, before
completing a master's in Glasgow and a doctorate at the University College London Institute
of Education. He is Reader in Education at the schools of Education and Interdisciplinary
Studies, University of Glasgow, UK, and served as Co-Chair of the Research Commission of
the International Society for Music Education (2012-2014). He has published in four
languages and worked in teacher education institutions in England, Spain and Northern
Ireland, where he investigated the potential of music education as a tool for inclusion. His
interests are broad, comprising creativity, social inclusion and research methods, and his
latest work is a book entitled Musical Creativity: Insights from Music Education Research,
published by Routledge. He also serves on the editorial boards of a number of journals and
in the Review Colleges of the UK Arts and Humanities Research Council and the Irish
Research Council.

Chris Philpott studied for a master's degree in music education at the Institute of Education,
London and after 16 years as a secondary music teacher became a teacher educator at
Canterbury Christ Church University. He is currently Deputy Pro Vice-Chancellor and a

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Reader in music education at the University of Greenwich, London. He has research interests
in the pedagogy of teacher education in music, the body and musical learning and music as
language. He has written and edited books, online texts and resources which are used in
initial teacher education (ITE) programs throughout the United Kingdom. He has previously
led government funded projects in relation to ITE in music.

S. Alex Ruthmann studied music and technology at the University of Michigan, Ann Arbor,
before completing M.M. and Ph.D. degrees at Oakland University in music education. He is
Associate Professor of Music Education and Music Technology, and Director of the Music
Experience Design Lab (MusEDLab) at NYU Steinhardt in New York City, where he teaches
graduate and undergraduate courses at the intersection of music education, technology,
design, and entrepreneurship. He is a Past President of the Association for Technology in
Music Instruction and Past Chair of the Creativity special research interest group of the
Society for Research in Music Education. He currently serves as Associate Editor of the
Journal of Music, Technology and Education, and on the editorial/advisory boards of the
British Journal of Music Education and the Journal of Popular Music Education. He is co-editor
of the Oxford Handbook of Technology and Music Education, and co-editor of the Routledge
Companion to Music, Technology, and Education. His current research explores the
collaborative design of new technologies and experiences for music making, learning and
engagement.

Eric Shieh is a founding teacher and community coordinator at the Metropolitan

Expeditionary Learning School in New York City. His research interests center on radical
pedagogies and curricular change, with recent publications addressing social justice and
music education, race and aesthetics, and independent musicianship. He is a former policy
strategist for the New York City Department of Education and has founded music programs
in prisons across the United States. Eric holds degrees in music education, multicultural
theory, and curriculum policy from the University of Michigan, Ann Arbor, and Teachers
College, Columbia University. He is a national associate of the Prison Creative Arts Project.

Gary Spruce Until recently Gary Spruce was Senior Lecturer in Education at the Open
University and director of the university's PGCE course with primary responsibility as subject
leader for the university's flexible, secondary PGCE music course. He is now a visiting
lecturer in music education at Birmingham City University and a consultant to Trinity College,
London. From 2007-2012 he was co-editor of the British Journal of Music Education. He has
written widely on music education particularly around the areas of teacher education and
music education and social justice, and has presented papers at national and international
conferences. He is a practising musician with a particular interest in music for the theatre.

Johannella Tafuri, violinist, has been Professor of Methodology of Music Education at the
Conservatoire of Bologna (Italy), Temporary Professor at the University of the same city, and
visiting professor at the University of Pamplona (Spain). At present, she is Professor at the
Conservatoire of Lugano (Switzerland) and at the inCanto Center of Bologna (a Teacher
training and Research Center). As a researcher, her main interests are creativity, teaching
and psychology of musical development. Her most important research (published in Italian,
Spanish and English), is the report of her longitudinal research that examines the musical
development of children from prenatal life until 6 years of age. Her publications are in
Italian, English, Spanish, Portuguese, Dutch, Greek, and Russian. She has been National
President of SIEM (Società Italiana per l'Educazione Musicale), member of the Board of
ESCOM (European Society for the Cognitive Sciences of Music) and of the Board of Directors
of ISME (International Society for Music Education), and Chair of the Research Commission
of ISME.

Sandra E. Trehub studied economics and philosophy before obtaining her doctoral degree in
psychology at McGill University in 1973. Since that time, she has been a faculty member in
the Department of Psychology at the University of Toronto where she is currently Professor
Emeritus. Although most of her research is conducted in laboratory contexts, she has
travelled extensively to observe cross-cultural differences in musical interactions with
infants. Among her scholarly honors are the Kurt Koffka Medal from Giessen University
(Germany, 2012) and a Lifetime Achievement Award from the Society for Music Perception
and Cognition (2013). Her research focuses on the perception of musical patterns by infants,
children, and adults, maternal singing to infants, and the perception of music and speech by
deaf children with cochlear implants.

Colwyn Trevarthen, a New Zealander, is Professor (Emeritus) of Child Psychology and

Psychobiology at The University of Edinburgh. Trained as a biologist, he took a PhD in human
brain science at the California Institute of Technology, and began infancy research at the
Center for Cognitive Studies at Harvard in 1967. In over 300 publications on brain
development, infant communication, and child learning and emotional health, he reports
studies on how intrinsic, musical, rhythms and expressions of emotion in movement animate
social awareness in children, language learning, and other cultural skills, and on applications
in therapy. With musician Stephen Malloch he edited Communicative Musicality: Exploring
the Basis of Human Companionship. He has honorary degrees from the University of Crete,
the University of East London, and Queen Margaret University in Edinburgh; is a Fellow of
the Royal Society of Edinburgh, a Member of the Norwegian Academy of Sciences and

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Letters, and a Vice-President of the British Association for Early Childhood Education.

Kari K. Veblen holds a bachelor's degree in music from Knox College with coursework from
St. Olaf College; followed by masters and doctoral degrees from the University of Wisconsin-
Madison. Thus far her career spans four decades including stints as elementary music
teacher, community musician, curriculum consultant to orchestras and schools, faculty
member at UW-Stevens Point, visiting scholar (Center for Research in Music Education,
University of Toronto, Canada), and research associate (Irish World Music Centre, University
of Limerick, Ireland). Currently Professor of music education at University of Western
Ontario, Canada, she teaches undergraduate and graduate courses such as cultural and
Canadian perspectives, music for children, and qualitative research methods. Current work
includes 1) a thirty year fascination with transmission of traditional
Irish/Scots/Celtic/diasporic musics, 2) adult music learning in formal, informal and
nonformal contexts, and 3) community music networks and individuals worldwide. Author,
co-author and co-editor of books, peer-reviewed chapters, articles and conference papers,
her latest book project is the Oxford Handbook of Social Media and Music Learning (with
Janice Waldron and Stephanie Horsley). Veblen has served in various professional capacities,
including the International Society for Music Education board.

Graham F. Welch holds the University College London (UCL) Institute of Education
Established Chair of Music Education. He is elected Chair of the internationally based Society
for Education, Music and Psychology Research (SEMPRE), a former President of the
International Society for Music Education (ISME), and past co-chair of the Research
Commission of ISME. Current Visiting Professorships include the Universities of Queensland
(Australia), Guildhall School of Music and Drama, and Liverpool (UK). He is an ex-member of
the UK Arts and Humanities Research Council's (AHRC) Review College for music and has
been a specialist consultant for Government departments and agencies in the UK, Italy,
Sweden, USA, Ukraine, UAE, South Africa and Argentina. Publications number over three
hundred and fifty and embrace musical development and music education, teacher
education, the psychology of music, singing and voice science, and music in special
education and disability. Publications are in English, Spanish, Portuguese, Italian, Swedish,
Greek, Japanese and Chinese.

Heidi Westerlund is professor at the Sibelius Academy, University of the Arts Helsinki,
Finland. She has published widely in international journals and books and she is the co-
editor of Collaborative learning in higher music education (Ashgate) as well as the Editor-in-
chief of the Finnish Journal of Music Education. Her research interests include higher arts
education, music teacher education, collaborative learning, cultural diversity and democracy
in music education. She is currently leading two research projects funded by the Academy of
Finland: The arts as public service: Strategic steps towards equality (2015-2020) and Global
visions through mobilizing networks: Co-developing intercultural music teacher education in
Finland, Israel and Nepal (2015-2019).

Jackie Wiggins holds two degrees in music education from Queens College (CUNY) and a
doctorate in music education from the University of Illinois. She is Distinguished Professor of
music education at Oakland University where she chairs the Department of Music, Theatre
and Dance, teaches psychology of music learning and qualitative research, and heads the
music education doctoral program. Her research centers around the nature of children's
musical thinking as reflected in their creative processes and decisions when composing and
improvising in classroom contexts, and the role of the music teacher and instructional design
in these processes. Wiggins advocates a constructivist approach to music learning and
teaching that engages learners with a broad diversity of musics through interactive
performance, listening, and creative problem solving experiences with a goal of empowering
learners with musical understanding and competence, fostering musical independence and
the ability to use music as a means of personal expression.

Dr. Ruth Wright is Professor of Music Education in the Don Wright Faculty of Music at Western
University in Canada. She has served as Chair of Music Education and Assistant Dean of
Research at this university. Her 2010 book Sociology and Music Education, Ashgate Press, is
a frequently used textbook in courses exploring this field. Prior to moving to Canada in 2009,
Ruth was engaged in music education in the UK for 20 years. She has been a secondary
school music teacher and a lecturer in music education and graduate education at Cardiff
Metropolitan University, Wales. She is the Executive Director of the not for profit organisation
Musical Futures Canada and brought the program to Canada in 2012.

Susan Young recently retired as senior lecturer in early childhood studies and music
education at the University of Exeter, UK and completed an additional postgraduate degree
in anthropology. She continues her academic activity as senior research fellow at the
University of Roehampton, London and Associate of the Centre for Research in Early
Childhood, Birmingham. Originally trained as a pianist at the Royal College of Music London,
wining the outstanding student prize in her final year, she went on to study Dalcroze
Eurhythmics in Geneva. She spent her early career teaching music in a range of schools to
children of all ages before gaining a PhD in early childhood music from the University of
Surrey. She has published widely in professional and academic journals and is frequently
invited to present at conferences, both nationally and internationally. She has written several

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Music Learning and Teaching in Infancy, Childhood, and Adolescence - Gary McPherson, Graham Welch - Oxford University Press 30/04/2018, 13*55

books, including Music with the Under Fours and Music 3-5.

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Arts & Humanities > Music
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