A Psicologia da Música e eu

Autores

  • David J. Hargreaves University of Roehampton

DOI:

https://doi.org/10.30827/dreh.v0i15.8096

Palavras-chave:

Music, Psychology, Music Psychology
Entidades: Editorial Universidad de Granada, Grupo de Investigación HUM-672 AREA (Análisis de la Realidad EducativA) de la Universidad de Granada

Resumo

Fiquei muito honrado em receber um Lifetime Achievement Award da Society for Education, Music and Psychology Research (SEMPER) em 2017, e isso me deu a chance de refletir sobre os 40 anos ou mais durante os quais trabalho nessas áreas . Muitas mudanças ocorreram ao longo desse tempo - quase todas para melhor. Espero que seja interessante para os leitores ouvir minha história pessoal, na qual vou traçar - de uma maneira completamente desmedida e intuitiva, mas de maneira pouco cronológica - algumas das reviravoltas da minha carreira. Alguns deles foram influenciados por mudanças na própria psicologia da música; alguns por mudanças de carreira; e alguns porque encontrei pessoas significativas em diferentes pontos da jornada.

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Biografia Autor

David J. Hargreaves, University of Roehampton

David J. Hargreaves is Emeritus Professor at the University of Roehampton, London. Her has also been Visiting Professor at the University of Gothenburg, Sweden, and Adjunct Professor in the School of Psychology and Speech Pathology at Curtin University, Western Australia.

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 16 languages, and include the Handbook of Musical Identities (co-edited with Raymond MacDonald and Dorothy Miell, Oxford UP, 2017), and The Psychology of Musical Development, co-authored with Alexandra Lamont (Cambridge UP, 2017).

David has appeared on BBC TV and radio as a jazz pianist and composer, and is organist on his local church circuit in Cambridgeshire. He has been awarded an honorary D.Phil. by the University of Gothenburg, Sweden, as well as a Lifetime Achievement Award by the Society for Education, Music and Psychology Research (SEMPRE).

Referências

Bryant, P.E. (1974/2017). Perception and understanding in young children: An experimental approach. London: Methuen/Routledge.

Doise, W. (1986) Levels of explanation in social psychology. Cambridge: Cambridge University Press.

Donaldson, M. (1978). Children's minds. Glasgow: Fontana/Collins.

Fumoto, H., Robson, S., Greenfield, S. & Hargreaves, D.J. (2012). Young children’s creative thinking. London: Sage.

Gardner, H. (1973). The arts and human development: A psychological study of the artistic process. New York: Wiley.

Gordon, E. (1965). Musical aptitude profile. Boston: Houghton Mifflin.

Gordon, E. (2007). Learning sequences in music: A contemporary music learning theory. GIA Publications.

Hargreaves, D.J. (1974). Situational influences on divergent thinking. British Journal of Educational Psychology, 44, 84-88.

Hargreaves, D.J. (1982). The development of aesthetic reactions to music. Psychology of Music, Special Issue, 51-54.

Hargreaves, D.J. (1986a). The developmental psychology of music. Cambridge: Cambridge University Press.

Hargreaves, D. J. (1986b). Developmental psychology and music education. Psychology of Music, 14(2), 83-96.

Hargreaves, D.J. & Bolton, N. (1972). Selecting creativity tests for use in research. British Journal of Psychology, 63, 451-462.

Hargreaves, D.J. & Bonneville-Roussy, A. (2018). What is ‘open-earedness’, and how can it be measured? Musicae Scientiae, 22(2), 161-174.

Hargreaves, D.J. & Galton, M. (1992). Aesthetic learning: psychological theory and educational practice, in 1992 N.S.S.E. yearbook on the arts in education, eds. B. Reimer & R.A. Smith. Chicago: N.S.S.E, pp.124-150.

Hargreaves, D.J. & Lamont, A.M. (2017). The psychology of musical development. Cambridge: Cambridge University Press. Pp. xix + 344.

Hargreaves, D.J. & North, A.C. (eds.) (1997). The social psychology of music. Oxford: Oxford University Press. pp. xv + 319.

Hargreaves, D.J., Galton, M. & Robinson, S. (1996). Teachers’ assessments of primary children’ s classroom work in the creative arts. Educational Research, 38, 199-211.

Hargreaves, D.J., Marshall, N. & North, A.C. (2003). Music education in the 21st century: a psychological perspective. British Journal of Music Education, 20(2), 147-163.

Hargreaves, D.J., Miell, D.E., MacDonald, R.A.R. (eds.) (2012). Musical imaginations. Oxford: Oxford University Press.

Hargreaves, D.J., Purves, R.M., Welch, G.F. & Marshall, N.A. (2007). Developing identities and attitudes in musicians and music teachers. British Journal of Educational Psychology, 77(3), 665-682.

Hargreaves, D.J., Robson, S., Greenfield, S. & Fumoto, H. (2014). Ownership and autonomy in early learning: The Froebel Research Fellowship project, 2002-15. Journal of Early Childhood Research, 12(3), 308-321.

Lamont, A.M., Hargreaves, D.J., Marshall, N. & Tarrant, M. (2003). Young people’s music in and out of school. British Journal of Music Education, 20(3), 1-13.

Louven, C. (2016). Hargreaves’ “open-earedness”: A critical discussion and new approach on the concept of musical tolerance and curiosity. Musicae Scientiae, 20(2), 235-247.

MacDonald, R.A.R., Hargreaves, D.J. & Miell, D.E. (eds.) (2002). Musical identities. Oxford: Oxford University Press. pp. x + 213.

MacDonald, R.A.R., Hargreaves, D.J. & Miell, D.E. (eds.) (2017). Handbook of musical identities. Oxford: Oxford University Press. Pp. xix + 876.

Miell, D.E., MacDonald, R.A.R. & Hargreaves, D.J. (eds.) (2005). Musical communication. Oxford: Oxford University Press. pp. xvi + 433.

Miller, G. A., & Selfridge, J. A. (1950). Verbal context and the recall of meaningful material. The American Journal of Psychology, 63(2), 176-185.

North, A.C. & Hargreaves, D.J. (2008). The social and applied psychology of music. Oxford: Oxford University Press. pp. xi + 476.

Ockelford, A. (2006). Implication and expectation in music: A zygonic model. Psychology of Music, 34(1), 81-142.

Schubert, E., Hargreaves, D.J. & North, A.C. (2014). A dynamically minimalist cognitive explanation of musical preference: Is familiarity everything? Frontiers in Psychology: Auditory Cognitive Neuroscience, 5, 1-8.

Shuter-Dyson, R. & Gabriel, C. (1981). The psychology of musical ability (2nd ed.). London: Methuen.

Sloboda, J. (2005). Exploring the musical mind: Cognition, emotion, ability, function. Oxford: Oxford University Press.

Swanwick, K., & Tillman, J. (1986). The sequence of musical development: a study of children's composition. British journal of Music Education, 3(3), 305-339.

Webster, P. R. (1994). Measure of Creative Thinking in Music:(MCTM): Administrative Guidelines. Peter Webster.

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Publicado

2019-03-13

Como Citar

Hargreaves, D. J. (2019). A Psicologia da Música e eu. DEDiCA. Revista De Educação E Humanidades, (15), 11–28. https://doi.org/10.30827/dreh.v0i15.8096

Edição

N.º 15 (2019)

Secção

Artigos