Druid Magazine

Compact disc contains 25 tracks of music by different performers as listed in the text.

An integrated elementary listening program for music classes, regular classes, libraries and home use. Includes 20 great musical selections complete with historical information, composer/arranger biographical information, musical features sketches, cross-curricular connections and anticipated outcomes. Meets the National Music Standards.

The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds and for making music, we can awaken and release our full creative powers. Mathieu offers suggestions and encouragement on many aspects of music-making, and provides playful exercises to help readers appreciate the connection between sound, music, and everyday life.

Active Listening, Second Edition, is grounded in the theory that learners are more successful listeners when they activate their prior knowledge of a topic. Teacher's Manual 3 contains step-by-step practical teaching notes, optional speaking activities and listening strategies, culture notes, and suggested times for completing lessons. Photocopiable unit quizzes, two complete tests with Audio CD, and complete answer keys are also included.

Does listening to music while driving a car enhance driver safety or place the driver at increased risk of accidents? This is the first full-length text to explore the subject. A great deal of work has been done to investigate and reduce driver distraction and inattention, but this book is the first to focus on in-cabin aural backgrounds of music as a contributing factor to human error and traffic violations.

Behavioral, language, and reasoning are expressions of neural functions par excellence, as the brain must draw on sensory modalities to gather information on the rest of the body and on the outer world. Cortical areas processing the identity and location of the sensory inputs were once thought to be organized, with some branches dedicated to complex features. Yet current studies have uncovered synergistic effects at early-stage cognitions as well as higher-level association areas. A less hierarchical functional architecture of the brain has emerged such that, irrespective of sensory modality, inputs are assigned to the best suited cortical substrate.

This handbook provides an evidence-based 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.

How does the constant presence of music in modern life—on iPods, in shops and elevators, on television—affect the way we listen? With so much of this sound, whether imposed or chosen, only partially present to us, is the act of listening degraded by such passive listening? In Ubiquitous Listening, Anahid Kassabian investigates the many sounds that surround us and argues that this ubiquity has led to different kinds of listening. Kassabian argues for a new examination of the music we do not normally hear (and by implication, that we do), one that examines the way it is used as a marketing tool and a mood modulator, and exploring the ways we engage with this music.