Handbook of Musical Identities

Edited by Raymond MacDonald, David J. Hargreaves, and Dorothy Miell

Follows on from Musical Identities (MacDonald, Hargreaves and Miell, 2002) to reflect massive subsequent developments in the field
Unique coverage of psychological and now also multidisciplinary approaches and topics
Reflects changes in people's engagement with music in the digital age
Multi-national authorship

Handbook of Musical Identities

Edited by Raymond MacDonald, David J. Hargreaves, and Dorothy Miell

Description

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.

Handbook of Musical Identities

Edited by Raymond MacDonald, David J. Hargreaves, and Dorothy Miell

Editors' Introduction
1: The changing identity of musical identities, David Hargreaves, Raymond MacDonald & Dorothy Miell
Sociological, discursive and narrative approaches
2: Identities and musics: Reclaiming personhood, David Elliott & Marissa Silverman
3: Music-ecology and everyday action: Creating, changing and contesting identities, Tia deNora
4: Laying the foundations for narrative identities in and through music, Margaret S. Barrett
5: Young people's musical lives: Identities, learning ecologies and connectedness, Susan O'Neill
6: The ear of the beholder: Improvisation, ambiguity and social contexts in the constructions of musical identities, Graeme Wilson & Raymond MacDonald
7: Post-national identities in music: Acting in a global intertextual musical arena, Göran Folkestad
8: 'Will the real Slim Shady please stand up?': Identity in popular music, Andy McKinlay & Chris McVittie
Development
9: The musical self: Affections for life in a community of sound, Colwyn Trevarthen & Stephen Malloch
10: Musical identity, interest, and involvement, Alexandra Lamont
11: Building musical self-identity in early infancy, Johannella Tafuri
12: Processes of musical identity consolidation during adolescence, Paul Evans & Gary McPherson
13: The moving and movement identities of adolescents: lessons from dance movement psychotherapy in mainstream schools, Vicky Karkou & Julie Joseph
Individual differences
14: Musical identities, music preferences, and individual differences, Sebastian Dys, Glenn Schellenberg & Kate McLean
15: Musical self-concept as a mediating psychological structure: From musical experience to musical identity, Maria B. Spychiger
16: Defining the musical identity of 'non-musicians', Nikki Rickard & TanChyuan Chin
17: The social psychological underpinnings of musical identities: A study on how personality stereotypes are formed from musical cues, David M. Greenberg & Peter J. Rentfrow
18: Musical identity and individual differences in empathy, Emery Schubert
Musical institutions and practitioners
19: Impersonating the music in performance, John Rink
20: Performance Identity, Jane W. Davidson
21: Imagining identifications: how musicians align their practices with publics, Byron Dueck
22: Patterns of sociohistorical interaction between musical identity and technology, Adam Linson
23: Who am I? : The process of identity renegotiation for opera choristers following redundancy, Jane Oakland, Raymond MacDonald & Paul Flowers
24: Reauthoring the self: Therapeutic songwriting in identity work, Felicity Baker & Raymond MacDonald
25: Staying one step ahead?: The self-identity of Japanese concert promoters, Martin Cloonan
Education
26: Musical identity, learning and teaching, Susan Hallam
27: Identity formation and agency in the diverse music classroom, Heidi Westerlund, Heidi Partti & Sidsel Karlsen
28: Music in identity at adolescence across school transition, Jennifer Sydmonds Jonathan James Hargreaves, & Marion Long
29: Children's ethnic identity, cultural diversity, and music education, Beatriz Ilari
30: The identities of singers and their educational environments, Graham Welch
31: Music-games and musical identities, Gianna Cassidy & Anna Paisley
Health and well-being
32: Music, identity and health, Even Ruud
33: Musical identity in fostering emotional health, Suvi Saarikallio
34: Music-making in therapeutic contexts: reframing identity following disruptions to health, Wendy Magee
35: Identity and musical development in people with severe or profound and multiple learning difficulties, Adam Ockelford & John Vorhaus
36: "I would die without my music ": Relying on musical identities to cope with difficult times, Katrina McFerran & Cherry Hense
37: On musical identities, social pharmacology and timing in music therapy, Jorg Fachner, Jaakko Erkkila & Olivier Brabant
Case studies
38: The clever boy from Croydon: music, identity, and race, Nicholas Cook
39: The identities of Sevda - from Graeco-Arabic medicine to music therapy, Nigel Osborne
40: Musical identities, resilience and wellbeing: The effects of music on displaced children in Colombia, Gloria Patricia Zapata Restrepo & David J. Hargreaves
41: Music of Englishness: National identity and the first folk revival, Robert Colls and Katie Heathman
42: Sistema Scotland: Emerging musical identities in Raploch, Kathryn Jourdan & Richard Holloway
43: Musical identities in Australia and South Korea and new identities emerging through social media and digital technology, Myung-Sook Auh & Robert Walker
44: Identity, music, and festivity in Southern Tunisia, Alan Karass

Handbook of Musical Identities

Edited by Raymond MacDonald, David J. Hargreaves, and Dorothy Miell

Author Information

Edited by Raymond MacDonald, Professor of Music Psychology and Improvisation, University of Edinburgh, David J. Hargreaves, Professor of Education, University of Roehampton, and Dorothy Miell, Professor of Social Psychology, The University of Edinburgh

Raymond MacDonald is Professor of Music Psychology and Improvisation and Head of The School of Music at University of Edinburgh. He runs music workshops and lectures internationally and has published over 70 peer reviewed papers and book chapters. He has co-edited four texts, Musical Identities (2002), Musical Communication (2005), Musical Imaginations (2012) and Music Health & Wellbeing (2012) and was editor of the journal Psychology of Music between 2006 and 2012. His on-going research focuses on issues relating to improvisation, musical communication, music health and wellbeing, music education and musical identities. As a saxophonist and composer he is a founding member of The Glasgow Improvisers Orchestra and has released over 60 CDs. Collaborating with musicians such as David Byrne, George Lewis, Evan Parker, Jim O'Rourke and Marilyn Crispell he has toured and broadcast worldwide and has written music for film, television, theatre, radio and art installations.

David Hargreaves is Professor of Education and Froebel Research Fellow at the University of Roehampton, and has previously held posts in the Schools of Psychology and Education at the Universities of Leicester, Durham and the Open University. He has been Editor of Psychology of Music, Chair of the Research Commission of the International Society for Music Education (ISME), and is a Fellow of the British Psychological Society. His books, in psychology, education, the arts, and music have been translated into 15 languages. He has appeared on BBC TV and radio as a jazz pianist and composer, and is organist on his local village church circuit.

Dorothy Miell is Professor of Social Psychology based at the University of Edinburgh where she is also Vice Principal and Head of the College of Arts, Humanities and Social Sciences. She is a Fellow of the British Psychological Society and of the Royal Society of Edinburgh. She has worked on issues of identity, relationships and communication as they apply to creative collaborations in childhood, adolescence and amongst professional artists. Amongst her other co-edited texts are Musical Identities (2002), Learning to Collaborate, Collaborating to Learn (2004), Collaborative Creativity (2004), Musical Communication (2005) and Musical Imaginations (2012).

Contributors:

Myung-Sook Auh - University of New England, Australia
Felicity Baker
Margaret S. Barrett
Olivier Brabant - University of Jyvaskyla, Finland
Gianna Cassidy
TanChyuan Chin - Graduate School of Education, University of Melbourne
Martin Cloonan - University of Glasgow
Robert Colls
Nicholas Cook
Jane W. Davidson
Tia deNora
Byron Dueck
Sebastian Dys - University of Toronto
David Elliott
Jaakko Erkkila - University of Jyvaskyla, Finland
Paul Evans - University of New South Wales
Jorg Fachner - Anglia Ruskin University Cambridge, UK
Paul Flowers
Göran Folkestad
David M. Greenberg - University of Cambridge
Susan Hallam
David J. Hargreaves
Jonathan James Hargreaves
Katie Heathman
Cherry Hense
Richard Holloway
Beatriz Ilari
Julie Joseph
Kathryn Jourdan
Alan Karass
Vicky Karkou
Sidsel Karlsen
Alexandra Lamont
Adam Linson
Marion Long
Raymond MacDonald
Wendy Magee
Stephen Malloch
Katrina McFerran
Andy McKinlay - School of Philosophy, Psychology and Language Sciences, The University of Edinburgh
Kate McLean - Western Washington University
Gary McPherson - University of Melbourne
Chris McVittie - School of Arts, Social Sciences and Management, Queen Margaret University
Dorothy Miell
Susan O'Neill
Jane Oakland
Adam Ockelford
Nigel Osborne
Anna Paisley
Heidi Partti
Peter J. Rentfrow - University of Cambridge
Gloria Patricia Zapata Restrepo
Nikki Rickard - School of Psychological Sciences, Monash University
John Rink
Even Ruud
Suvi Saarikallio
Glenn Schellenberg - University of Toronto
Emery Schubert - UNSW Australia
Marissa Silverman
Maria B. Spychiger
Jennifer Sydmonds
Johannella Tafuri
Colwyn Trevarthen
John Vorhaus
Robert Walker - University of New England, Australia
Graham Welch - UCL Institute of Education, London
Heidi Westerlund
Graeme Wilson