| Title | 17. Conclusion: Progressing the State of the Art of Music Psychology |
|---|---|
| Contributor | Renee Timmers(author) |
| Blanka Bogunović(author) | |
| Sanela Nikolić(author) | |
| DOI | https://doi.org/10.11647/obp.0389.17 |
| Landing page | https://www.openbookpublishers.com/books/10.11647/obp.0389/chapters/10.11647/obp.0389.17 |
| License | https://creativecommons.org/licenses/by-nc/4.0/ |
| Copyright | Renee Timmers; Blanka Bogunović; Sanela Nikolić; |
| Publisher | Open Book Publishers |
| Published on | 2024-06-20 |
| Long abstract | Research from Western Europe tends to be better known and more frequently published than research from the Western Balkans. Various factors contribute to such imbalances of publication and recognition, including socio-economic, political, linguistic, and psychological, in the case of implicit biases. This book demonstrates the rich history of research in the psychology of music in the Western Balkans and aims to address power imbalances by explicitly promoting research from this region. In this concluding chapter, we argue for the opportunities offered by collaborative, interdisciplinary research to enable a more inclusive discipline of the psychology of music, with greater equality of contributions and embracing the diversity of knowledge and understanding. We reflect on the overlaps and differences between the research captured in this book, which originated in Western Europe and the Western Balkans. Whilst similarities and overlaps are most prevalent, subtle differences are also apparent in specific specialisms in knowledge development. Furthermore, contexts such as variations in systems and practices of music education and variations in musical preferences demonstrate the need for research to be situated rather than being assumed to be context-independent. This offers a tension for researchers to add to generalisable knowledge or develop context-dependent insights. Such tensions need to be first of all acknowledged in mainstream music psychology, highlighting the limitations of published research, and opening a larger platform for research from a diversity of regions, and cultural and research practices. |
| Page range | pp. 371–386 |
| Print length | 16 pages |
| Language | English (Original) |
Renee Timmers is Professor of Psychology of Music at the University of Sheffield. Her research concerns the expressive performance of music; music, emotion, and health; and multimodal and embodied experiences of music. She has co-edited two volumes published by Oxford University Press (Expressiveness in music performance; Together in music) and two by Routledge (Routledge companion to music cognition; Sound teaching). She directs the research centre ‘Music Mind Machine’ in Sheffield and is past-President of ESCOM.
Blanka Bogunović holds a PhD in psychology and a BA in music performance (Flute). She is affiliated as a Full Professor of Psychology and Education Science at the Faculty of Music, University of Arts in Belgrade and is a guest lecturer at the Department of Psychology, University of Belgrade and Music Academy, University of Sarajevo. Her research interests are the motivation and personality of the musically gifted; specialist music education; music performance skills and expertise; and creative processes in making music. She is (co)author of five books and many articles and chapters related to her research interests. She is an ESCOM EC member, ESCOM representative for Serbia, originator of the PAM-IE Conference, and co-founder and coordinator of the Regional Network Psychology and Music (RNPaM).
Sanela Nikolić has a PhD in Theory of Arts and Media and is an Associate Professor of Applied Aesthetics at the Faculty of Music, University of Arts in Belgrade. She is the editor of the AM Journal of Art and Media Studies and was the International Association for Aesthetics Delegate-at-Large (2019–22). She is the author of the two books. Her fields of interest include avant-garde art schools and practices; applied aesthetics as a critical history of the humanities; interdisciplinarity and transdisciplinarity in the humanities; and digital humanities. She is a member of the Regional Network Psychology and Music (RNPaM).