Associate Director of Research
PhD, BA (Open: Psychology), BA (York: Music), ADipGSMD, C.Psychol., AFBPsS, FHEA, FISM
Professor Jane Ginsborg has held the position of Associate Director of Research since 2009 and fulfils the roles of Programme Leader for Research Degrees and Director of the Centre for Music Performance Research (formerly the Research Centre for the Vocational Training of Musicians) where she was appointed Research Fellow in 2005. Between 2012 and 2015 she served as President of the European Society for the Cognitive Sciences of Music (ESCOM).
One of those rare music psychologists who is a musician as well as a psychologist, Jane read music at the University of York and studied singing at the Guildhall School of Music and Drama. Following a successful career as a singer, she graduated in psychology from the Open University, and undertook her doctoral research at Keele University. Winner of the British Voice Association’s Van Lawrence Award in 2002 for her research on singers’ memorizing strategies, she is Managing Editor of Music Performance Research, Associate Editor of the Journal of Interdisciplinary Music Studies and Musicae Scientiae and a member of the editorial boards of Psychology of Music, Music and Science and Frontiers in Psychology (Performance Science). Her AHRC-funded project “Interactive performance for musicians with a hearing impairment”(in collaboration with the University of Liverpool) was shortlisted for the Times Higher Education Best Research Project of 2013 and she was Principal Investigator for the “Better Practice” strand of the Conservatoires UK-wide AHRC-funded Musical Impact research project between 2014 and 2018. This strand sought to promote healthy lifestyles and practice for musicians from the earliest years throughout their education and training and into the profession. She is currently co-investigator on the Colt Foundation-funded research project on “hidden” hearing loss, with colleagues in the Department of Audiology at the University of Manchester, and is collaborating with Professor Patrick Gaydecki in the Department of Engineering at the University of Manchester on a project relating to the digital emulation of high-quality violins. Jane’s other interests include the development of musical expertise, performers’ and creative artists’ mental health, music in the ‘third age’, and musicians’ strategies for practising, learning, memorizing and performing both individually and in groups.
Current and Future Research
Jane is particularly interested in the social and cognitive processes underlying experts’ individual and collaborative rehearsal and performance. She uses observational and experimental methods to investigate the relationship between practice, rehearsal and performance, particularly in student and professional duos (singers / pianists; violinists; flautists / pianists) and small ensembles such as quartets and quintets; she also uses self-report, diary and interview methods to explore individuals’ qualitative experiences of music-making. She has published widely on expert musicians’ approaches to practising and memorizing, and won the British Voice Association’s Van Lawrence Award in 2002 for her research on singers’ memorizing strategies. This research was inspired by but did not draw on her own experience; in recent years she has been developing practice-led approaches such as the longitudinal case study method to investigate her own strategies for practice, rehearsal and performance, and she is now working with students and other professionals to help them use this method to explore their own practice.
From 2013 to 2017 Jane was one of three Principal Investigators on an AHRC-funded research project, Musical Impact: Enhancing the health and wellbeing of musicians, with Prof. Aaron Williamon (RCM), Prof. Emma Redding (Trinity Laban) and colleagues from all eleven UK conservatoires. International collaborations, supported in part by a Leverhulme International Academic Fellowship enabling Jane to visit six centres in Australia in the spring of 2014, include research contributing to another large-scale research project, Advancing Interdisciplinary Research on Singing (2009-2016) in which Jane was a Co-Investigator on Theme 2.2, Singing and Education / Formal Training. From 2016 to 2019 Jane is a Co-Investigator on a project supported by the Colt Foundation to explore (as yet) “hidden” hearing loss in musicians, with colleagues from the University of Manchester Department of Audiology. Between 2010 and 2013 Jane investigated the interactive music-making of people with hearing impairments in a study undertaken in collaboration with Prof. Carl Hopkins at the University of Liverpool, also funded by the AHRC, and shortlisted for a Times Higher Educational Award of Best Research Project of 2013.
College and External Research Roles
Chair, RNCM Research Degrees Programme Committee; RNCM Research Ethics Committee
Member, RNCM Research Committee, Research ManagementTeam, Human Resources Committee, Joint Consultative Committee, Student Wellbeing Group, REF Advisory Panel
Chair, Conservatoires UK (CUK) Research Ethics Committee, 2011-2013
President, European Society for the Cognitive Sciences of Music (ESCOM) 2012-2015
Chair, Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, 17-22 August 2015 at RNCM (www.escom2015.org)
Chair, Music in the Third Age: Practice and Research, 25 November 2015 at RNCM
Managing Editor, Music Performance Research
Associate Editor (Music Performance), Journal of Interdisciplinary Music Studies
Associate Editor, Musicae Scientiae
Review Editor, Frontiers in Psychology (Performance Science)
Member of Editorial Board, Psychology of Music
Member of Editorial Board, Music and Science
Member of Society for Education, Music and Psychology Research (SEMPRE) Committee
Member of Music and Science Steering Committee, Institute for Musical Research
Member of Management Committee, Practice-as-Research Consortium NorthWest (PARC-NW)
External Examiner: MSc in Performance Science, Royal College of Music, 2011-2015; MSc in Performing Arts Medicine, University College London, 2016-2019
External Examiner, PhD / DMus / DMusPerf: De Montfort University; Griffiths University, Brisbane, Australia; Ghent University, Belgium; Institute of Education, University of London; Royal College of Music; Sibelius Academy, Helsinki; Trinity Laban Conservatoire of Music and Dance/City University; University of Brighton; University of Sheffield; Guildhall School of Music and Drama; Sydney Conservatorium/University of Sydney, Australia; University of Newcastle, Australia; Royal Irish Academy of Music/Dublin University
January 2016: Colt Foundation: Time to face the music: Addressing hearing health in future professional musicians (with Piers Dawes [PI], Chris Armitage, Dave Moore, Kevin Munro and Chris Plack, University of Manchester) – £152,329 (2016-2019)
March 2013: AHRC: Musical Impact: Enhancing musicians’ health and wellbeing (with Aaron Williamon, Royal College of Music and Emma Redding, Trinity-Laban Conservatoire of Music and Dance – £974,961 (2013-2017)
Feb 2013: Leverhulme Trust International Academic Fellowship (January-March 2014)
Nov 2009: AHRC: Interactive performance for musicians with a hearing impairment (with Carl Hopkins, Acoustics Research Unit, School of Architecture, University of Liverpool) – £299,000 (2010-2013)
Dec 2008: Advancing Interdisciplinary Research in Singing (funded 2009-2016 – I am one of 41 Co-Investigators and 33 Collaborators) by Social Sciences and Humanities Research Council of Canada – Principal Investigator Dr Annabel Cohen, Director, Music Cognition Lab, University of Prince Edward Island) – CA$2,500,000.
July 2007: Palatine Development Award: Promoting excellence in small group music performance: teaching, learning and assessment (with Richard Wistreich, then at the International Centre for Music Studies, University of Newcastle) – £10,000.
Level 1 (Year 1): Artist Development 1: Health and Wellbeing for Musicians
Level 3 (Year 4): Performance and Repertoire Studies
Level 3 (Years 3 and 4): Elective: Applied Music Psychology: Theory, Practice and Research
Level 3 (Year 4): Practical Pedagogy
Performing Research: Methods in Music Psychology
Supervisor: Music Psychology Projects Major (12,000 words) and Minor (8,000 words)
Programme Leader, Research Degrees (MPhil and PhD, validated and awarded by Manchester Metropolitan University)
Robert Fulford: AHRC-funded PhD student, Interactive Performance for Musicians with a Hearing Impairment (2010-2013)
Karin Greenhead: PhD student (part-time; secondary supervisor), Dalcroze eurhythmics and dynamic rehearsal techniques: Reflections on practice (2011-2018)
Miguel Coimbra Fernandes: PhD student (part-time), Co-operative music-making in the workplace
Raluca Matei: AHRC-funded PhD student, Better Practice (Musical Impact) (2015-2018)
Naomi Norton: AHRC-funded PhD student, Health Education in Instrumental/Vocal Music Lessons: The Teacher’s Perspective (2013-2016)
Nellinne Ranaweera: RNCM-funded PhD student, The role of music in musicians’ wellbeing (2016-2019)
Anna Zabuska: RNCM-funded PhD student (part-time), Motivational issues in music performance students (2011-2017)
- Ginsborg, J. (2018). "The brilliance of perfection" or "pointless finish"? What virtuosity means to musicians.. Musicae Scientiae, , doi:10.1177/1029864918776351.
- Sloboda, J. and Ginsborg, J. (2018). 25 years of ESCOM: Achievements and challenges.. Musicae Scientiae, 22(2) 147-160 .
- Zabuska, A., Ginsborg, J. and Wasely, D. (2018). A comparison of burnout and engagement in performance students at conservatoires in the UK, Australia and Poland. International Journal of Music Education, .
- Lloyd, T., Gaydecki, P., Ginsborg, J. and Yates, C. (2018). Violin impulse response length and perceptions of acceptability. Journal of New Music Research, , doi:http://dx.doi.org/10.1080/09298215.2017.1421668.
- Bennett, D. and Ginsborg, J. (2018). The program note and unfamiliar music: Understanding audience reactions. Psychology of Music, , doi:DOI: 10.1177/0305735617721339.
- Matei, R. and Ginsborg, J. (2018). Music performance anxiety in classical musicians – what we know about what works. British Journal of Psychiatry International, 14(2) 33-35 .
- Araujo, L., Wasely, D., Perkins, R., Atkins, L., Redding, E., Ginsborg, J. and Williamon, A. (2017). Fit to perform: An investigation of higher education music students’ perceptions, attitudes, and behaviors toward health. Frontiers of Psychology, 8 , doi:doi: 10.3389/fpsyg2017.01558.
- Ginsborg, J., Chaffin, R. and Demos, A. (2014). Different roles for prepared and spontaneous thoughts: A practice-based study of musical performance from memory. Journal of Interdisciplinary Music Studies, 6(2) 201-232 .
- Ginsborg, J. (2014). The influence of interactions between music and lyrics: What factors underlie the intelligibility of sung text?. Empirical Music Review, 9(1) 21-24 .
- Fine, P. and Ginsborg, J. (2014). Making myself understood: Perceived factors affecting the intelligibility of sung text. Frontiers in Psychology, 5(809) , doi:10.3389/fpsyg.2014.00809.
- Fulford, R. and Ginsborg, J. (2014). Can you hear me? Effects of hearing impairments on verbal and nonverbal communication during collaborative musical performance. Psychology of Music, 42(6) 846-855 , doi:10.1177/0305735614545196.
- Oakland, J. and Ginsborg, J. (2013). Continuing Professional Development in a chamber orchestra: Player and management perspectives. Music Education Research, , doi:10.1080/14613808.2013.788141.
- Fulford, R. and Ginsborg, J. (2013). The sign language of music: Musical shaping gestures (MSGs) in rehearsal talk by performers with hearing impairments.. Empirical Music Review, 8(1) 53-67 .
- Ginsborg, J. and King, E. (2012). Rehearsal talk: familiarity and expertise in singer-pianist duos. Musicae Scientiae, 16(2) 148-167 .
- Ginsborg, J. and Chaffin, R. (2011). Preparation and spontaneity in performance: A singer’s thoughts while singing Schoenberg. Psychomusicology, 21(1&2) 137-158 .
- Fulford, R., Ginsborg, J. and Goldbart, J. (2011). Learning not to listen: The experiences of musicians with hearing impairments. Music Education Research, 13(4) 429-446 .
- Woellner, C. and Ginsborg, J. (2011). Team teaching in the conservatoire: The views of music performance staff and students. British Journal of Music Education, 28(3) 301-323 .
- Woellner, C., Ginsborg, J. and Williamon, A. (2011). Music researchers’ musical engagement. Psychology of Music, 39(3) 364-382 .
- Stevens, C., Ginsborg, J. and Lester, G. (2011). Backwards and forwards in space and time: Recalling dance movement from long-term memory. Memory Studies, 4 234-250 .
- Ginsborg, J., Kreutz, G. and Williamon, A. (2009). Health-promoting behaviours in conservatoire students. Psychology of Music, 37(1) 47-60 .
- Ginsborg, J., Kreutz, G., Thomas, M. and Williamon, A. (2009). Healthy behaviours in music performance and non-music performance students. Health Education, 109(3) 242-258 .
- Brodsky, W., Kessler, Y., Rubinstein, B., Ginsborg, J. and Henik, A. (2008). The mental representation of music notation: notational audiation. Journal of Experimental Psychology: Human Perception and Performance, 34(2) 427-445 .
- Kreutz, G., Ginsborg, J. and Williamon, A. (2008). Music students’ health problems and health-promoting behaviours. Medical Problems of Performing Artists, 23(1) 3-11 .
- Ginsborg, J. and Sloboda, J. (2007). Singers’ recall for the words and melody of a new, unaccompanied song. Psychology of Music, 35(3) 421-440 .
- Ginsborg, J., Chaffin, R. and Nicholson, G. (2006). Shared performance cues in singing and conducting: a content analysis of talk during practice. Psychology of Music, 34(3) 167-194 .
- Sloboda, J. and Ginsborg, J. (2004). Understanding Expert Memory: the case of the classical pianist. Review of Chaffin, R., Imreh, G. & Crawford, M. (2002), ‘Practicing Perfection: Memory and Piano Performance’. Contemporary Psychology, 49(5) 587-588 .
- Locke, A. and Ginsborg, J. (2003). Spoken language in the early years: the cognitive and linguistic development of three- to five-year old children from socio-economically deprived backgrounds. Educational and Child Psychology, 20(4) 68-79 .
- Ginsborg, J. (2002). Classical singers memorising a new song: an observational study. Psychology of Music, 30 56-99 .
- Locke, A., Ginsborg, J. and Peers, I. (2002). Development and disadvantage: Implications for the early years and beyond. International Journal of Language and Communication Disorders, 3-15 .
- Ginsborg, J. (1997). Singers memorising a new song: An observational study. Quaderni della SIEM, Societa Italiana per l’Educazione Musicale, 12(2) 78-88 .
- Ginsborg, J. and Bennett, D. Developing familiarity: A new duo’s individual and shared practice features and performance cues given at International Symposium on Performance Science, Kyoto, Japan, 2-5 September 2015
- Zabuska, A., Ginsborg, J. and Wasley, D. Burnout and engagement among music performance students: A quantitative study given at International Symposium on Performance Science, Kyoto, Japan, 2-5 September 2015
- Fulford, R., Ginsborg, J. and Greasley, A. Hearing aids and music: The experiences of D/deaf musicians given at Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, Manchester, UK, 17-22 August 2015
- Norton, N., Ginsborg, J., Greasley, A. and McEwan, I. Health and wellness education for musicians: Investigating music teachers’ perspectives given at Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, Manchester, UK, 17-22 August 2015
- Zabuska, A., Ginsborg, J. and Wasley, D. Engagement with performance and burnout among music performance students given at Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, Manchester, UK, 17-22 August 2015
- Matei, R., Ross, S., Ginsborg, J., Broad, S. and Goldbart, J. Promoting health in music education: Better Practice given at Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, Manchester, UK, 17-22 August 2015
- Mate-Cid, S., Hopkins, C., Seiffert, G., Fulford, R. and Ginsborg, J. Establishing vibrotactile thresholds on the fingertip for people with and without a hearing impairment over the musical frequence range between C1 and C6. given at 19th International Congress on Sound and Vibration 2012, Lithuania, July 2014
- Hopkins, C., Ginsborg, J., Mate-Cid, S., Fulford, R. and Seiffert, G. Interactive performance for musicians with hearing impairments using the vibrotactile mode given at Proceedings of the Institute of Acoustics, United Kingdom, 2014
- Fulford, R., Hopkins, C., Seiffert, G. and Ginsborg, J. Sight, sound and synchrony: Effects of attenuating auditory feedback on duo violinists’ behaviours in performance. given at Proceedings of the 12th International Conference for Music Perception and Cognition, South Korea, August 2014
- Fine, P., Ginsborg, J. and Barlow, C. Making myself understood: Factors affecting the understanding of sung text. given at Proceedings of the 12th International Conference for Music Perception and Cognition, South Korea, August 2014
- Ginsborg, J. and Prior, H. “Let’s go again from the top”: The role of collaborative rehearsal in learning music given at International Symposium on Performance Science 2013, Vienna, 29 August 2013
- Fulford, R. and Ginsborg, J. The effects of hearing impairment on interactive performance: Two observational experiments given at International Symposium on Performance Science 2013, Vienna, 31 August
- Hopkins, C., Ginsborg, J., Mate-Cid, S., Fulford, R. and Seiffert, G. On the potential for vibrotactile technology to facilitate interactive performance for musicians with a hearing impairment given at Live Interfaces: Performance, Art, Music 2012, Leeds, September
- Mate-Cid, S., Fulford, R., Hopkins, C., Seiffert, G. and Ginsborg, J. Perception and learning of relative pitch in the vibrotactile mode given at Live Interfaces: Performance, Art, Music 2012, Leeds, September
- Hopkins, C., Mate-Cid, S., Seiffert, G., Fulford, R. and Ginsborg, J. Measurement of vibroctactile thresholds on the fingertip to assess vibrotactile presentation of musical notes to people with and without a hearing impairment given at Internoise 2012, New York, NY, August
- Fulford, R., Ginsborg, J. and Goldbart, J. Functions and uses of auditory and visual feedback: exploring the possible effects of a hearing impairment on music performance given at ICMPC and ESCOM 2012, Thessaloniki, Greece, July
- Ginsborg, J., Fine, P. and Barlow, C. Have we made ourselves clear? Singers’ and non-singers’ perceptions of the intelligibility of sung text given at International Symposium on Performance Science 2011, Canada, August
- Ginsborg, J. and Chaffin, R. Preparation and spontaneity in performance: A singer’s thoughts while singing Schoenberg given at Performa 11, Portugal, May
- Ginsborg, J. Focus, effort and enjoyment in chamber music: Rehearsal strategies of successful and “failed” student ensembles. given at International Symposium on Performance Science 2009, University of Auckland, December
- Stevens, C., Ginsborg, J. and Lester, G. Moving backwards and forwards in time: Recalling dance movement from long-term memory given at International Symposium on Performance Science 2009, University of Auckland, December
- Ginsborg, J. and Chaffin, R. Very long term memory for words and music: an expert singer’s written and sung recall over six years given at 2nd International Conference on Music Communication Science 2009, Australia, December
- Williamon, A., Wasley, D., Burt-Perkins, R., Ginsborg, J. and Hildebrandt, W. Profiling musicians: An applied investigation of fitness for performance given at International Symposium on Performance Science 2009, University of Auckland, December
- Fine, P., Ginsborg, J. and Barlow, C. The influence of listeners’ singing experience and the number of singers on the understanding of sung text given at International Symposium on Performance Science 2009, University of Auckland, December
- Ginsborg, J. and Gayford, C. Feeling Sound: Listeners’ experience of topical pitch perception given at International Conference on Music Communication Science 2009, Australia, December
- Ginsborg, J. and King, E. Gestures and glances: The role of expertise and familiarity on singers’ and pianists’ bodily movements in ensemble rehearsals given at ESCOM 2009, Finland, August
- Chaffin, R., Ginsborg, J. and Dixon, J. Serial Position Effects in a Singer’s Long Term Recall: Landmarks and Lacunae in Memory given at ESCOM 2009, Finland, August
- Ginsborg, J. and Pitkin, J. Long-term Memory for Simple and Complex Music: Quantity and Quality of Practice. given at 10th International Conference on Music Perception & Cognition, 2008, Sapporo, Japan, August
- Clegg, J. and Ginsborg, J. (Eds.). (2006) Language and Social Disadvantage: Theory into practice. Chichester, UK: John Wiley & Son Publishers Ltd.
- Ginsborg, J. (2018). Memory in music listening and performance In P. Hansen. and B. Blaesing.(Eds.) Performing the remembered present: The cognition of memory in theatre and music (pp 69-96 ). London, UK: Bloomsbury.
- Ginsborg, J. (2018). Small ensembles in rehearsal. In J. Rink. and H. Gaunt.(Eds.) Musicians in the Making: Pathways to Creative Performance (pp 164-185 ). Oxford: Oxford University Press.
- Ginsborg, J. (2014). Research skills in practice: Learning and teaching practice-based research at RNCM In S. Harrison.(Eds.) Research and Research Education in Music Performance and Pedagogy (pp 77-89 ). Amsterdam: Springer.
- Ginsborg, J. (2014). Elite performance In W. Thompson.(Eds.) Encyclopaedia of Music in the Social and Behavioral Sciences (pp 370-372 ). Thousand Oaks, California, USA: SAGE Publications.
- Ginsborg, J. (2014). Musical aptitude, tests of In W. Thompson.(Eds.) SAGE Encyclopaedia of Music in the Social and Behavioral Sciences (pp 783-787 ). Thousand Oaks, California, USA: SAGE Publications.
- Woellner, C., Ginsborg, J. and Williamon, A. (2013). Familiarity and reflexivity in the research process In E. King. and H. Prior.(Eds.) Music and Familiarity: Listening, Musicology and Performance (pp 175-196 ). UK: Ashgate Press.
- Fulford, R. and Ginsborg, J. (2013). Can you see me? The effects of visual contact on musicians’ movements in performance In M. Wyers. and O. Glieca.(Eds.) Sound Music and the Moving-Thinking Body (pp 109-118 ). Cambridge: Cambridge Scholars Publishing.
- GInsborg, J., Spahn, C. and Williamon, A. (2012). Health promotion in higher music education In R. MacDonald., G. Kreutz. and L. Mitchell.(Eds.) Music, Health and Wellbeing (pp 356-366 ). Oxford: Oxford University Press.
- Ginsborg, J. and Chaffin, R. (2011). Performance cues in singing: evidence from practice and recall In I. Deliege. and J. Davidson.(Eds.) Music and the Mind: Investigating the functions and processes of music (a book in honour of John Sloboda) (pp 339–360 ). Oxford: Oxford University Press.
- King, E. and GInsborg, J. (2011). Gestures and glances: Interactions in ensemble rehearsal In A. Gritten. and E. King.(Eds.) New Perspectives on Music and Gesture (pp 177–201 ). Aldershot, UK: Ashgate Press.
- Ginsborg, J. (2009). Beating time: The role of kinaesthetic learning in the development of mental representations for music In A. Mornell.(Eds.) Art in Motion: Musical and Athletic Motor Learning and Performance (pp 121–142 ). Vienna: Peter Lang.
- Ginsborg, J. (2006). Language and Social Disadvantage: The Effects of Socio-Economic Status on Children’s Language Acquisition and Use In J. Clegg. and J. Ginsborg.(Eds.) Language and Social Disadvantage (pp 9-27 ). Chichester: Wiley.
- Ginsborg, J. (2004). Strategies for memorising music In A. Williamon.(Eds.) Musical Excellence: Strategies and techniques to enhance performance (pp 123-141 ). Oxford: Oxford University Press.
- Ginsborg, J. (2004). Singing by heart: memorisation strategies for the words and music of songs In J. Davidson.(Eds.) The music practitioner: exploring practices and research in the development of the expert music performer, teacher and listener (pp 149-160 ). Aldershot, UK: Ashgate.
Chapters in Books
2016 – Member of AHRC Peer Review College
2016 – Board Member, Music in the Round, Sheffield
2012 – 2015 President, European Society for the Cognitive Sciences of Music
2012 – Associate Fellow, British Psychological Society (BPS)
2012 – Founding Member, Society for Interdisciplinary Musicology
2005 – Fellow, Higher Education Academy
2002 – British Voice Association
1999 – British Psychological Society (Division of Teachers and Researchers; Chartered Psychologist)
1999 – Society for Education, Music and Psychology Research (SEMPRE)
1995 – European Society for Cognition in Music (ESCOM)
1984 – Actors’ Equity (Division of Concert and Session Singers)
1979 – Incorporated Society of Musicians (Performers’ and Teachers’ Division)