Professor Graham Welch PhD holds the UCL Institute of Education (formerly University of London) Established Chair of Music Education (since 2001). He is a Past President of the International Society for Music Education (ISME) (2008-2014) and elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE). He holds Visiting Professorships at universities in the UK and overseas, and is a member of the UK Arts and Humanities Research Council (AHRC) Review College for Music. Publications number approximately three hundred and fifty and embrace diverse aspects of the social sciences and music: the psychology of music, particularly musical development and music education, teacher education, singing and voice science, and music in special education and disability. He is Chair of the new Paul Hamlyn Foundation National Commission on music education in the England from 2015.
JamMo is a new musical education software. An inter-disciplinary team from 5 different EU countri... more JamMo is a new musical education software. An inter-disciplinary team from 5 different EU countries developed the software as part of an EU-funded project. The software was developed to facilitate feelings of social inclusion and musical collaboration amongst children aged 3-12. A pilot study was conducted with a version of the game aimed at 3-6 years. Twenty-eight children aged eight participated in the pilot study. Five sessions were delivered with JamMo over the period of eight weeks at a primary school in London, each focussing on a different JamMo game (composition, singing or improvisation). The games were played on mobile phones and on a desktop computer. Prior and subsequent to the sessions, a questionnaire on the children's musical and IT backgrounds was administered, as well as an instrument for assessing social inclusion. Observations and video recording were conducted during the sessions. Statistical analysis was carried out. The results showed that children who were...
Music Learning and Teaching in Infancy, Childhood, and Adolescence is one of five paperback books... more Music Learning and Teaching in Infancy, Childhood, and Adolescence is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, the second book in this set explores a broad array of key issues, concepts, and debates related to music learning and teaching in three phases of a child's development. The first section provides an expanded view of infancy and early childhood, embracing a key theme that most young children's early music-making is improvised and used to communicate with others and the self. These chapters demonstrate the importance of "motherese" or "parentese" to young children's overall development, the extraordinary diversity and richness of children's early musical engagement, and how this can be viewed as a resource for further learning. The second section is devoted to the learning and teaching of music during the middle years of childhood, when music is often a mandated part of the school curriculum. While recognizing the enormous cultural and national differences, chapters in this section give an overview of many varied and innovative forms of musical learning and teaching globally. The authors address issues related to the types of teachers who provide music instructions to children internationally, how they were educated and trained, and how various nations organize their curriculum in ways that provide children with access and opportunities to engage with music in the classroom. The third section focuses on the musical experiences and development of adolescents aged 12 to 18. These chapters explore the role of music in the lives of young people-including how they use and relate to music, how music educators can best meet students' needs, and the types of musical engagement that can either empower or disempower students through involvement in school music.
Music and Music Education in People's Lives is one of five paperback books derived from the f... more Music and Music Education in People's Lives is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education.
Special Needs, Community Music, and Adult Learning is one of five paperback books derived from th... more Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education.
Auditory feedback for self-voice is reduced when (1) other singers are close (self-relation), and... more Auditory feedback for self-voice is reduced when (1) other singers are close (self-relation), and (2) when singers are around, singing or trying to sing the same sounds (Ternstrom, 1994 , Daugherty, 2000). However, singing competence is likely to be nurtured through exposure to frequent opportunities for vocal play within an environment that encourages vocal exploration and exact imitation (Young, 2002; Mang, 2003; Welch, 2005).
Music education takes place in many contexts, both formal and informal. Be it in a school or musi... more Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.
Quotations 1 Introduction 2 A universe of music 3 Musical development 4 The misunderstanding of m... more Quotations 1 Introduction 2 A universe of music 3 Musical development 4 The misunderstanding of music
Special Needs, Community Music, and Adult Learning is one of five paperback books derived from th... more Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education.
Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have gi... more Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have girl as well as boy cathedral choristers, often alternating in the singing of the daily services. One of the original political challenges in this musico-cultural initiative was whether or not it was possible for girl choristers to attain the same vocal quality as their male counterparts. Empirical studies, however, suggest that there is considerable overlap between the psycho-acoustic vocal features of girls’ and boys’ singing, such that it is often difficult perceptually to distinguish between the two, particularly for the relatively naive listener. Moreover, the music repertoire usually reaches across gender. The chapter provides an overview of these recent developments and explores how the musical director can best shape the vocal products of their choristers, while being sensitive to particular vocal production issues that relate to the development of girls’ voices.
Musical activities are often an integral part of the home life of young children and their caregi... more Musical activities are often an integral part of the home life of young children and their caregivers. Activities include songs and rhymes that coordinate the daily routine, as well as opportunities for learning and engagement in a wider world. Music groups for caregivers and young children are also included within programmes of activities for families in early education and care settings. Additionally, such settings may have specific targets and outcomes that seek to improve the life chances of young children in disadvantaged circumstances; one key target may be the development of young children’s communication skills. There is the suggestion, based on evidence from large-scale studies, that young children from disadvantaged backgrounds lag behind their more advantaged peers in language skills. Music can help children develop language and the associated skills necessary to be ready for school. In the early education and care setting context, it can be seen that music group sessions...
The Oxford Handbook of Music Education, Volume 1, 2012
Music education takes place in many contexts, both formal and informal. Be it in a school or musi... more Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these arti...
Journal of Music, Technology & Education, 2020
The aim of the current research was to investigate the nature of feedback when a digital technolo... more The aim of the current research was to investigate the nature of feedback when a digital technology system was introduced in the higher education (HE) piano studio alongside three teacher and student pairs in Brazil. Data were collected by using video-recorded observations of lessons, participant interviews, and also data related to the use of a specific technology. A thematic analysis of the resultant data suggests that participants used verbal and non-verbal feedback in three areas of lesson focus: music (score), performance (e.g. dynamics, articulation), and technology (Musical Instrument Digital Interface [MIDI] parameters). The application of technology seems to allow the focus of the lesson to become clearer, making students more aware of their performances and their learning processes. Data suggest that the engagement with technology varied across the three observed cases. There seems to be a valuable use for technology-mediated feedback; this could, in turn, optimize more tr...
JamMo is a new musical education software. An inter-disciplinary team from 5 different EU countri... more JamMo is a new musical education software. An inter-disciplinary team from 5 different EU countries developed the software as part of an EU-funded project. The software was developed to facilitate feelings of social inclusion and musical collaboration amongst children aged 3-12. A pilot study was conducted with a version of the game aimed at 3-6 years. Twenty-eight children aged eight participated in the pilot study. Five sessions were delivered with JamMo over the period of eight weeks at a primary school in London, each focussing on a different JamMo game (composition, singing or improvisation). The games were played on mobile phones and on a desktop computer. Prior and subsequent to the sessions, a questionnaire on the children's musical and IT backgrounds was administered, as well as an instrument for assessing social inclusion. Observations and video recording were conducted during the sessions. Statistical analysis was carried out. The results showed that children who were...
Music Learning and Teaching in Infancy, Childhood, and Adolescence is one of five paperback books... more Music Learning and Teaching in Infancy, Childhood, and Adolescence is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, the second book in this set explores a broad array of key issues, concepts, and debates related to music learning and teaching in three phases of a child's development. The first section provides an expanded view of infancy and early childhood, embracing a key theme that most young children's early music-making is improvised and used to communicate with others and the self. These chapters demonstrate the importance of "motherese" or "parentese" to young children's overall development, the extraordinary diversity and richness of children's early musical engagement, and how this can be viewed as a resource for further learning. The second section is devoted to the learning and teaching of music during the middle years of childhood, when music is often a mandated part of the school curriculum. While recognizing the enormous cultural and national differences, chapters in this section give an overview of many varied and innovative forms of musical learning and teaching globally. The authors address issues related to the types of teachers who provide music instructions to children internationally, how they were educated and trained, and how various nations organize their curriculum in ways that provide children with access and opportunities to engage with music in the classroom. The third section focuses on the musical experiences and development of adolescents aged 12 to 18. These chapters explore the role of music in the lives of young people-including how they use and relate to music, how music educators can best meet students' needs, and the types of musical engagement that can either empower or disempower students through involvement in school music.
Music and Music Education in People's Lives is one of five paperback books derived from the f... more Music and Music Education in People's Lives is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education.
Special Needs, Community Music, and Adult Learning is one of five paperback books derived from th... more Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education.
Auditory feedback for self-voice is reduced when (1) other singers are close (self-relation), and... more Auditory feedback for self-voice is reduced when (1) other singers are close (self-relation), and (2) when singers are around, singing or trying to sing the same sounds (Ternstrom, 1994 , Daugherty, 2000). However, singing competence is likely to be nurtured through exposure to frequent opportunities for vocal play within an environment that encourages vocal exploration and exact imitation (Young, 2002; Mang, 2003; Welch, 2005).
Music education takes place in many contexts, both formal and informal. Be it in a school or musi... more Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.
Quotations 1 Introduction 2 A universe of music 3 Musical development 4 The misunderstanding of m... more Quotations 1 Introduction 2 A universe of music 3 Musical development 4 The misunderstanding of music
Special Needs, Community Music, and Adult Learning is one of five paperback books derived from th... more Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education.
Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have gi... more Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have girl as well as boy cathedral choristers, often alternating in the singing of the daily services. One of the original political challenges in this musico-cultural initiative was whether or not it was possible for girl choristers to attain the same vocal quality as their male counterparts. Empirical studies, however, suggest that there is considerable overlap between the psycho-acoustic vocal features of girls’ and boys’ singing, such that it is often difficult perceptually to distinguish between the two, particularly for the relatively naive listener. Moreover, the music repertoire usually reaches across gender. The chapter provides an overview of these recent developments and explores how the musical director can best shape the vocal products of their choristers, while being sensitive to particular vocal production issues that relate to the development of girls’ voices.
Musical activities are often an integral part of the home life of young children and their caregi... more Musical activities are often an integral part of the home life of young children and their caregivers. Activities include songs and rhymes that coordinate the daily routine, as well as opportunities for learning and engagement in a wider world. Music groups for caregivers and young children are also included within programmes of activities for families in early education and care settings. Additionally, such settings may have specific targets and outcomes that seek to improve the life chances of young children in disadvantaged circumstances; one key target may be the development of young children’s communication skills. There is the suggestion, based on evidence from large-scale studies, that young children from disadvantaged backgrounds lag behind their more advantaged peers in language skills. Music can help children develop language and the associated skills necessary to be ready for school. In the early education and care setting context, it can be seen that music group sessions...
The Oxford Handbook of Music Education, Volume 1, 2012
Music education takes place in many contexts, both formal and informal. Be it in a school or musi... more Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these arti...
Journal of Music, Technology & Education, 2020
The aim of the current research was to investigate the nature of feedback when a digital technolo... more The aim of the current research was to investigate the nature of feedback when a digital technology system was introduced in the higher education (HE) piano studio alongside three teacher and student pairs in Brazil. Data were collected by using video-recorded observations of lessons, participant interviews, and also data related to the use of a specific technology. A thematic analysis of the resultant data suggests that participants used verbal and non-verbal feedback in three areas of lesson focus: music (score), performance (e.g. dynamics, articulation), and technology (Musical Instrument Digital Interface [MIDI] parameters). The application of technology seems to allow the focus of the lesson to become clearer, making students more aware of their performances and their learning processes. Data suggest that the engagement with technology varied across the three observed cases. There seems to be a valuable use for technology-mediated feedback; this could, in turn, optimize more tr...
The paper was published (in English and Mandari) as part of the edited proceedings of the first i... more The paper was published (in English and Mandari) as part of the edited proceedings of the first international conference on music education, held in Beijing in 2006. The presentations were invited from key figures in Chinese music education and a group of international researchers, each selected to discuss common topical issues in music education nationally and internationally. One key theme was music teacher education and this paper drew on selected data from a major recent research project in England. (For more details, see Welch, G.F., Purves, R., Hargreaves, D., & Marshall, N. (2011). Early career challenges in secondary school music teaching. British Educational Research Journal. 37(2), 285-315. First published online 26 March 2010 (iFirst), DOI: 10.1080/01411921003596903.) One significant outcome of this research-focused event was the hosting of the International Society for Music Education (ISME) World Conference in Beijing in 2010, one of the largest conferences in ISME's history and the first to be held in China.
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Papers by Graham Welch