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Books and book chapters

Co-authored books

Gaunt, H. and Hallam, S. (2012) Preparing for Success: A Practical Guide for Young Musicians, London, Institute of Education Press.

 

Co-edited books

Gaunt, H. and Westerlund, H. (Eds.) (2013) Collaborative Learning in Higher Music Education, Abingdon, Ashgate.

 

Book chapters

Gaunt, H. and Creech, A. (2012). "The changing face of instrumental tuition: value, purpose and potential" in MacPherson, G. and Welch, G. (Eds) The Oxford Handbook of Music Education, Vol. 1 Oxford, OUP.

Gaunt, H. and Papageorgi, I. (2010). "Music in universities and conservatoires" in Hallam, S. and Creech, A. (Eds) Music Education in the 21st Century in the United Kingdom: Achievement, Analysis and Aspiration, London, Institute of Education Press: 260-278.

Gaunt, H. and Hallam, S. (2011). "Individuality in the learning of musical skills." in S. Hallam, I. Cross and M. Thaut (Eds) Oxford Handbook of Music Psychology, Oxford, OUP: 274-284.

Gaunt, H. (2005). "Instrumental/vocal teaching and learning in conservatoires: a case study of teachers' perceptions." in G. Odam and N. Bannan (Eds) The Reflective Conservatoire. Abingdon, Ashgate: 245-267.

Gaunt, H. (2005). "Breathing and the oboe: a musical, educational and clinical study." in G. Odam and N. Bannan (Eds) The Reflective Conservatoire. Abingdon, Ashgate: 33-59.

 

Reports

Gaunt, H. (Ed) (2010). Researching Conservatoires: Enquiry, Innovation and the Development of Artistic Practice in Conservatoires, Report from the Research Working Group of the Polifonia Project of the European Association of European Conservatoires.

Long, M. and Gaunt, H. (2012) "Mapping Master Classes: Format, content and style". Final report from research funded by the Higher Education Academy.

Featured

Research exploring key skills and qualities for successful orchestral musicians.
Supporting start-ups and sustainable business in the performing arts

Blog

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In a nutshell

So why should you be interested in Learning in and through the Performing Arts?

The collaborative processes of the performing arts open a pandora's box of possibilities for artistic, personal and organizational development. They are subtle and multi-layered, embodied practices that can yield much more than what individuals bring to them, creatively and in terms of human exchange. My work is about continuing to develop these processes for the twenty-first century, so that artists can adapt to their changing contexts and enable their work to take root as creative entrepreneurs, and so that the processes of the arts can be shared and enhanced through exchange with other disciplines and across cultural contexts.