Papers by David Hargreaves
Oxford University Press eBooks, 1997
... Login to save citations to My List. Citation. Database: PsycINFO. [Chapter]. Experimental aes... more ... Login to save citations to My List. Citation. Database: PsycINFO. [Chapter]. Experimental aesthetics and everyday music listening. North ...
Oxford University Press eBooks, Sep 1, 2015
International Journal of Music Education, Oct 17, 2019
This study is based on the premise that emotional skills-comprised of an intrapersonal and an int... more This study is based on the premise that emotional skills-comprised of an intrapersonal and an interpersonal dimension-help to achieve personal balance, which in turn can enhance performance. Following from this premise, the improvement of music students' emotional skills might have a positive effect on their musical performance. The recognised relationship between music and emotion therefore suggests that music education is a suitable context for developing emotional skills. The paper examines the relationship between intrapersonal skills and the musical performance of elementary students studying the piano in a Spanish conservatory. The research was developed as an action research process and involved the study of three 10-year-old students. A set of activities were designed specifically for students attending the third course of piano studies; these activities were intended to develop students' intrapersonal skills throughout the school year and were implemented in the subjects of piano and ensemble playing in parallel with the musical tasks. The relationship between intrapersonal skills and musical performance is investigated and discussed for each of the three cases.
Psychology of Music, Jul 17, 2017
This article presents some of the results of a research project undertaken in a school located in... more This article presents some of the results of a research project undertaken in a school located in a deprived neighbourhood of Bogotá, the capital of Colombia. The project investigated the effects of musical experiences on 6-to 8-year-olds' social and musical development by means of a mixedmethods approach involving the children, their parents and teachers. The project comprised three studies, and this article reports the results of the first, an experimental intervention study which was carried out with two groups of 52 children. The experimental group followed an 18-week music programme of singing workshops involving Colombian traditional songs and musical improvisation, whereas the control group had no such musical programme. Harter's (1999) Perceived Competence Scale for Children was administered before and after the 18-week singing programme to assess its effects on the children's self-esteem. Analysis revealed that musical activities had a significant impact on children's self-esteem, and especially upon its cognitive component. These results are of crucial importance in the context of forced displacement in the Colombian population as a result of violence.
Oxford University Press eBooks, Jun 1, 2006
APA PsycNET Our Apologies! - The following features are not available with your current Browser c... more APA PsycNET Our Apologies! - The following features are not available with your current Browser configuration. - alerts user that their session is about to expire - display, print, save, export, and email selected records - get My ...
Cambridge University Press eBooks, Oct 11, 2017
Oxford University Press eBooks, Apr 10, 2008
Cambridge University Press eBooks, Dec 18, 1986
Oxford University Press eBooks, Feb 23, 2017
Background Within the popular imagination, musical talent or ability is perceived to be genetic o... more Background Within the popular imagination, musical talent or ability is perceived to be genetic or innate (Rickard & Chin, 2017) and Western cultures tend to identify only those who actively create music through playing an instrument or singing as "musicians" (Hallam, 2017). The conflation of "musician" with ability and/or active music engagement through singing or playing is reflected in research considering musical identity, which has tended to focus on these connections. Where a broader concept of musical identity is deployed, in, for example, the context of music listening, research has narrowly focused on music genre preferences. Any conception of the "musician" identity, is, however, socially constructed; and little consideration has been given to broader sociocultural factors at play in musical identity formation, particularly as regards to cultural environment.
Teaching Music
Aschief administrator of your country'spublic educational program, what role would you presc... more Aschief administrator of your country'spublic educational program, what role would you prescribe for music? What emphasis would you advocate for music relative to other subjects? What should be taught? To whom? When? How? These would not be easy questions for any individual or committee to address. They are longstanding and contentious issues in education. David Hargreaves believes that a developmental psychology of music is necessary to provide the foundation for the right answers, and his new book, The ...
Handbook of Music, Adolescents, and Wellbeing, 2019
The idea that a ‘musicianship of listening’ might exist alongside the more conventional notion of... more The idea that a ‘musicianship of listening’ might exist alongside the more conventional notion of musicianship based on composition, improvisation, and performance forms the starting point of our analysis of the importance and function of musical preferences in adolescence. We consider adolescents’ musical preferences, a key part of their social identities, in the context of broader lifespan changes in musical preference, looking in particular at the explanatory power of the notion of ‘open-earedness’. We consider the main psychological theories of adolescent musical preference, distinguishing between those based on social identity theory and those which adopt different sociocultural approaches. There can be no doubt that musical preferences form a central part of the identities of many adolescents, and that the notion of a musicianship of listening can help explain why these preferences are integral to their social relationships and wellbeing.
Research Studies in Music Education, 2017
Children’s Centres are widespread in England and comprise multi-professional staff teams seeking ... more Children’s Centres are widespread in England and comprise multi-professional staff teams seeking to work with families with children aged 0–5 years. Although parent–child group music sessions appear frequently in Children’s Centre activity programmes, the rationale for their inclusion remains unclear. This article presents the results from phase two of an exploratory mixed-methods study which investigated the role of and rationale for parent–child (0–3 years) group music making activities in Children’s Centres. The perceptions of parents and practitioners were considered, and differences were found between them. The themes generated by the initial qualitative interview study (phase one) were investigated further in this quantitative questionnaire study (phase two), which involved 49 practitioners and 91 parents. Seven thematic categories of the perceived benefits of music—Social, Emotional, Learning, Teaching, Links to Home, Parenting, and Organisational—which had been identified in...
Handbook of Musical Identities, 2017
Musicae Scientiae, 2017
Recent years have seen some fundamental changes in the study of responses to music: the growth of... more Recent years have seen some fundamental changes in the study of responses to music: the growth of neuroscientific approaches, in particular, is throwing new light on the role of imagination, affect and emotion. One focus has been on the nature of musical preferences in relation to other affective and cognitive judgements, and another has been on the issue of changes in musical preference across the lifespan. One explanatory concept which has proved useful in this respect is that of ‘open-earedness’, first formulated by Hargreaves in the suggestion that ‘younger children may be more “open-eared” to forms of music regarded by adults as unconventional; their responses may show less evidence of acculturation to normative standards of good taste than those of older subjects’. Louven recently published a critique of the ways in which this concept has been operationalized in subsequent research, proposing his own definition. In this paper we take a broad ranging view of ‘open-earedness’, p...
The Developmental Psychology of Music
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Papers by David Hargreaves