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Maureen Harris has written an early childhood music program that is easily incorporated into the classroom routine. Written for the early childhood educator-experienced or trainee, musician or nonmusician_this book describes a music-enriched environment for teaching the whole child. Now educators can put research into practice and benefit from the wealth of knowledge and research acquired over the centuries on the power of music. With easy-to-follow lesson plans, sing-along CDs (sung in a suitable pitch for the young child), and supporting literature, educators can gain musical confidence as they explore research on child development, learn how to create a music-enriched environment and build musical confidence, see a curriculum time-frame, and follow lesson plans with ideas for further musical creativity and exploration. In addition, the multicultural section shows how to set up an early childhood music setting that maximizes the benefits of a variety of cultural values and practices. As you read this book you will begin to see music as a biological human need, an incredible vehicle for enhancing intelligence, and a means to connecting and uniting people around the world.
Sadly, millions of children today are affected by mental health problems, almost a doubling of the number of sufferers in just one generation. Now, in this timely new book, mental health experts provide invaluable information and guidance for concerned parents, teachers and young adults. With chapters covering subjects such as child and adolescent development, parenting skills, problems at school, emotional health and wellbeing, The Young Mind also looks specifically at some of the most distressing problems facing young people today, including anxiety and stress disorders, drugs, alcohol, self-harm and psycho-sexual development. Illustrated and written in a completely accessible style by some of the most distinguished and respected professionals in the field of child and adolescent psychiatry, The Young Mind offers a guiding hand and insight into this most vital area of mental health.
What goes on in human beings when they make or listen to music? What is it about music, what gives it such peculiar power over us, power delectable and beneficent for the most part, but also capable of uncontrollable and sometimes destructive force? Music has no concepts, it lacks images; it has no power of representation, it has no relation to the world. And yet it is evident in all of us–we tap our feet, we keep time, hum, sing, conduct music, mirror the melodic contours and feelings of what we hear in our movements and expressions. In this book, Oliver Sacks explores the power music wields over us–a power that sometimes we control and at other times don’t. He explores, in his inimitable fashion, how it can provide access to otherwise unreachable emotional states, how it can revivify neurological avenues that have been frozen, evoke memories of earlier, lost events or states or bring those with neurological disorders back to a time when the world was much richer. This is a book that explores, like no other, the myriad dimensions of our experience of and with music.
Where does learning begin and how is it sustained and stored in the brain? For musicians, these questions are at the very core of their creative lives. Cognitive and neuroscience have flung wide the doors of our understanding, but bridging the gap between research data and music-making requires a unique immersion in both worlds. Lynn Helding presents a symphony of discoveries that illuminate how musicians can optimize their mental wellbeing and cognitive abilities. She addresses common brain myths, motor learning research and the concept of deliberate practice, the values of instructional feedback, technology’s role in attention disorders, the challenges of parenting young musicians, performance anxiety and its solutions, and the emerging importance of music as a social justice issue. More than an exploration of the brain, The Musician’s Mind is an inspiring call for artists to promote the cultivation of emotion and empathy as cornerstones of a civilized society. No matter your instrument or level of musical ability, this book will reveal to you a new dynamic appreciation for the mind’s creative power.
This collection is filled with poems that I wrote to help keep my cool during the rough times, and I figured it would be nice to share it with the world.
Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.
Following her distinguished earlier career as a concert pianist and later as a music theorist, Jeanne Bamberger conducted countless case studies analysing musical development and creativity the results of which were published in important scientific journals. Discovering musical mind draws together in one source these classic studies, offering the chance to revisit and reconsider some of her conclusions. Reviewing the data in light of current theories of cognitive development, she discusses how some of the conclusions she drew stand up to scrutiny, whilst in other cases, anomalies turn out to have greater significance than expected. The book is a collection of Bamberger's papers from 1975 to 2011. It includes her first study of Beethoven's original fingerings, her beginning work with children's invented notations, close observations and analysis of children in the Laboratory for Making Things, studies of musically gifted children, and the emergent musical development of students in elementary-secondary school and university undergraduate and graduate studies. The observations and research lead to the development of an interactive, computer-based music environment that uses her pragmatic theory of musical development as the basis for a project-oriented program for teaching and learning. Unlike other collections, the book is both interdisciplinary and strongly practical. It brings together and integrates Bamberger's background in music theory, research in music perception and music education, performance, cognitive development, artificial intelligence, and procedural music composition. Her multi-faceted approach to music theory and music pedagogy is guided throughout by her commitment to an understanding and respect for an individual's natural, creative musical intelligence. This natural competence becomes the formative ground on which to help people of all ages build an ever growing understanding and engagement with the evolving structures of the world's music. Bringing together a body of research currently scattered across a range of journals, or simply no longer available, the book will make fascinating reading for those in the fields of musical developmental and educational psychology.
Children go to school to learn, and learning takes place in the brain. In the age period of formal schooling, a child’s brain is still undergoing major developmental changes. For these reasons, neuroscience (the study of the brain) and education are closely connected. Learning is possible because the brain is plastic: plasticity refers to the capacity of the brain to reorganize its structure and thereby change function and behavior. But what exactly changes in the brain when we learn something new? What are optimal conditions for the brain to learn? Why do we also forget things? What developmental changes occur in the brain during childhood and adolescence, and how are these processes different or similar to the neural mechanisms of learning and memory? Neuro-imaging research, or ‘brain scanning’, has accelerated our current understanding of brain development, learning, memory and other school-related skills such as reading and math but also creativity, metacognition and learning-related emotions and anxieties. But what do these brain scanning techniques actually measure? What kind of questions can we address with neuro-imaging, and what are the limitations? In this Collection, we will provide an accessible overview of the current state-of-the-art insights into the mechanisms of brain development, learning and memory. The collection will help children understand how their brains learn and develop, and how these processes are shaped by their environment and their own efforts. Moreover, we will discuss why it is important that their teachers and other educational practitioners know about the brain and neuroscience methods. Finally, we will also explain what happens if wrong ideas about the brain circulate, or the correct knowledge is misinterpreted. Neuromyths such as ‘we only use 10 percent of our brain’ are persistent, but important to counter with explaining why they are false, and what is true instead.
In recent decades, the relationship between music, emotions, health and well-being has become a hot topic. Scientific research and new neuro-imaging technologies have provided extraordinary new insights into how music affects our brains and bodies, and researchers in fields ranging from psychology and music therapy to history and sociology have turned their attention to the question of how music relates to mind, body, feelings and health, generating a wealth of insights as well as new challenges. Yet this work is often divided by discipline and methodology, resulting in parallel, yet separate discourses. In this context, The Routledge Companion to Music, Mind and Well-being seeks to foster truly interdisciplinary approaches to key questions about the nature of musical experience and to demonstrate the importance of the conceptual and ideological frameworks underlying research in this field. Incorporating perspectives from musicology, history, psychology, neuroscience, music education, philosophy, sociology, linguistics and music therapy, this volume opens the way for a generative dialogue across both scientific and humanistic scholarship. The Companion is divided into two sections. The chapters in the first, historical section consider the varied ways in which music, the emotions, well-being and their interactions have been understood in the past, from Antiquity to the twentieth century, shedding light on the intellectual origins of debates that continue today. The chapters in the second, contemporary section offer a variety of current scientific perspectives on these topics and engage wider philosophical problems. The Companion ends with chapters that explore the practical application of music in healthcare, education and welfare, drawing on work on music as a social and ecological phenomenon. Contextualising contemporary scientific research on music within the history of ideas, this volume provides a unique overview of what it means to study music in relation to the mind and well-being.
... With sections devoted to theory, as well as practical strategies and applications for the classroom ... a primer on how the body hears music to music's impact on stress level, perceptual-motor skills, memory, and emotional intelligence ... Included are tips for choosing music and the various benefits of various music types -- cf. back cover.