Why do some children take up music, while others don't? Why do some excel, whilst others give up? Why do some children favour classical music, whilst others prefer rock? These are questions that have puzzled music educators, psychologists, and musicologists for many years. Yet, they are incredibly difficult and complex questions to answer. This book takes an innovative approach to trying to answer these questions. It is drawn from a research project that spanned fourteen years, and closely followed the lives of over 150 children learning music — from their seventh to their twenty second birthdays. This longitudinal approach allows for the probing of a number of important issues. For example, how do you define musical skill and ability? Is it true, as many assume, that continuous engagement in performance is the sole way in which those skills can be developed? What are the consequences of trends and behaviours observed amongst the general public, and their listening consumption? After presenting an overview and detailed case study explorations of musical lives, the book provides frameworks and theory for further investigation and discussion. It tries to present a holistic interpretation of these studies, and looks at their implications for musical development and education.

Body movement plays a role in the construction, execution, and perception of musical performances. This chapter explores the interface between technical matters of physical control and the expressive components of physical gestures, and discusses the bodily origins of musical meaning, expressive performance, and musical skill acquisition. For example, bodily gesture and rhythm in protomusical mother-child exchanges influence the development of thought and knowledge, and expressive slowing in music (ritardando) corresponds to the deceleration of runners coming to a halt. Specific movement gestures in music performance function as illustrative and emblematic cues and clearly indicate the focus of the performer's attention, whether on the narrative content of a song or on showing off to the audience. Thus, through body movement thoughts and concerns are communicated to the audience. Performers, educators, and students can use this knowledge to enhance their performing, teaching, and learning capacities.

One of the most common and popular ways a child can be involved in music is to play an instrument. This chapter begins with a description of the various catalysts that shape children's initial motives to commence learning and their choice of an instrument when they begin formal training. It then explores what children expect and value from their learning and how this aspect of motivation influences their subsequent musical development. This leads to a discussion of the types of strategies children need to acquire in order to become successful performers, and the playing habits and practice techniques that either enhance or impede their progress. The Last section of the chapter deals with the help and encouragement children need to receive from their parents if they are to develop into successful, self-regulated learners.

This chapter deals with three central aspects of musical communication which focus on how the human body is used to produce a musical performance, namely how biomechanical constraints operate; how expressive intentions and social codes influence the production of a performance; and how that production is subsequently interpreted by co-performers and audiences. It uses three case studies to illustrate these issues: a classical pianist, a jazz singer and accompanist, and a pop band. The chapter demonstrates the need to adopt an integrated perspective to understand the role of bodily communication in musical performance.

The aim of the current study was to investigate events that have influenced the careers and lives of a group of talented musicians. This research followed up a study carried out by Davidson, Sloboda, Howe and Moore (1991-1993; published in Davidson et al. , British Journal of Developmental Psychology , 14, pp. 399-412, 1996; Davidson et al ., in Hargreaves and North, The Social Psychology of Music , Oxford University Press, 1997; Davidson et al ., Journal of Research in Music Education , 46, pp. 141-160, 1998; Howe et al ., Psychology of Music , 23, pp. 162-176, 1995; Sloboda et al ., British Journal of Psychology , 87, pp. 287-309, 1996), in order to discover what has happened to some of participants 8 years after being involved in the original study, examining in particular the transitional phase from training to professional life. Semi-structured telephone interviews were conducted with 18 of the 'specialist' musicians, and these were analysed using Interpretative Phenomenological Analysis (IPA). The analysis revealed several themes that seem to be of key importance in determining the successful transition from training to professional life, and a tripartite model of success has been proposed. The central importance of music to self-concept seems to be the primary factor responsible for successful transition to the pursuit of a professional career. Positive experiences (with others and within the music education institutions), and the development of coping strategies seem to influence, and work with, self-concept, and so contribute to the success of transition. The findings contradict the belief that only practice makes perfect, or, that the influence of others is the most significant factor in development. This study has important implications for the education of talented musicians.