References
- Atkinson, P., 2006. Everyday arias: an operatic ethnography. Lanham, MD: Altamira Press.
- Atkinson, P., Watermeyer, R. and Delamont, S., 2013. Expertise, authority and embodied pedagogy: operatic masterclasses. British Journal of Sociology of Education, 34 (4), 487–503.
- Bläsing, B., et al., 2012. Neurocognitive control in dance perception and performance. Acta Psychologica, 139, 300–308. doi:10.1016/j.actpsy.2011.12.005.
- Britten, B., 2006. The rape of Lucretia, op. 37. London: Boosey and Hawkes. Available from: http://0-search.alexanderstreet.com.library.ucc.ie/view/work/376160 [Accessed 27 December 2015].
- Brown, J.E., 2002. Life is a cabaret, old chum! Investigating the process of bringing theatrical performance skills from the studio to the stage. In: K. Appleton, C. Macpherson and D. Orr, eds. Lifelong Learning Conference: refereed papers from the 2nd International Lifelong Learning Conference. Rockhampton: Central Queensland University Press, 81‒89. Available from: http://www.notesmasters.com.au/images/Life_is_a_Cabaret.pdf
- Bryon, E., 2013. From walking and talking to cartwheels and high Cs: an examination of practice-based laboratory work into physio-vocal integration. Theatre, Dance and Performance Training, 3 (1), 81–98.
- Bryon, E., 2014. Integrative performance: practice and theory for the interdisciplinary performer. Abingdon: Routledge.
- Creech, A., et al., 2010. Perceptions and predictions of expertise in advanced musical learners. Psychology of Music, 38 (1), 31–66.
- Ericsson, K.A., ed., 2014. The road to excellence: the acquisition of expert performance in the arts and sciences, sports, and games. Oxford: Psychology Press.
- Goldovsky, B., 1968. Bringing opera to life: operatic acting and stage direction. Englewood Cliffs, New Jersey: Prentice-Hall.
- Hallam, S., 2001. The development of expertise in young musicians: strategy use, knowledge acquisition and individual diversity. Music Education Research, 3 (1), 7–23.
- Hallam, S., 2012. Processes of instrumental learning: the development of musical expertise. In: Oxford Handbook of Music Education. Oxford: Oxford University Press.
- Lave, J., 1997. The culture of acquisition and the practice of understanding. In: D. Kirshner and J.A. Whitson, eds. Situated cognition: social, semiotic and psychological perspectives. Mahwah, New Jersey: Lawrence Erlbaum Associates, 17–35.
- Lave, J. and Wenger, E., 1991. Situated learning: legitimate peripheral participation. Cambridge: Cambridge University Press.
- McCoy, S., 2008. Getting wired: a new twist on the voice master class. Journal of Singing, 64 (3), 329–332.
- Moore, K.L., 2014. The joy of Noh: embodied learning and discipline in urban Japan. New York, NY: SUNY Press.
- Morton, J., 2014. Voice and dance technique integration: triple threat or double trouble? Voice and Speech Review, 8 (2), 212–216.
- Rutherford, S., 2001. ‘Unnatural gesticulation’ or ‘un geste sublime’? Dramatic performance in opera. Arcadia, 36 (2), 236–255.
- Sloboda, J.A., 1985. The musical mind: the cognitive psychology of music. Oxford: Oxford University Press.
- Sloboda, J., 1991. Musical expertise. In: K.A. Ericsson and J. Smith, eds. Toward a general theory of expertise: prospects and limits. Cambridge: Cambridge University Press, Chapter 6, 153‒171.
- Smart, M.A., 2004. Mimomania: music and gesture in nineteenth-century opera. vol 13. Berkeley: University of California Press.
- Stock, J.P., 2002. Learning ‘Huju’ in Shanghai, 1900‒1950: apprenticeship and the acquisition of expertise in a Chinese local opera tradition. Asian Music, 33 (2), 1‒42. Available from: http://www.jstor.org/stable/834344
- Tversky, B., 2008. Spatial cognition: embodied and situated. In: The Cambridge, ed. Handbook of Situated Cognition. Cambridge: Cambridge University Press.
- Warburton, E.C., 2011. Of meanings and movements: re-languaging embodiment in dance phenomenology and cognition. Dance Research Journal, 43 (2), 65–84. doi:10.1017/S0149767711000064.