Jane Ginsborg

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. 

In addition to the PhD students she has supervised (Robert Fulford, 2014; Naomi Norton, 2017; Anna Zabuska, 2018; Karin Greenhead, 2018; Raluca Matei, 2019; Nellinne Ranaweera, 2020) Jane has been privileged to work with several Visiting Research Fellows, including Dr Lotte Latukefu (Excelsia College, Sydney, Australia) in 2015, A/Prof. Bronwen Ackermann (University of Sydney) in 2019 and Dr Susanna Cohen (Bar-Ilan University, Israel) in 2020 and 2021. 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 Committee

Member, RNCM Research and Knowledge Exchange Committee, Research Management Team, 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

Chair, Music in the Third Age: Practice and Research, 25 November 2015 at RNCM

Editor-in-Chief, Musicae Scientiae

Associate Editor, Music Performance Research

Associate Editor (Music Performance), Journal of Interdisciplinary Music Studies

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 

External Examiner: MSc in Performance Science, Royal College of Music, 2011-2015; MSc in Performing Arts Medicine, University College London, 2016-2019; MA Performance, University of Chichester (2019-2022)

External Examiner, PhD / DMus / DMusPerf / EdD: De Montfort University; Griffiths University/Queensland Conservatorium, 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; Cambridge University; Edinburgh University

Research Funding

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.

Undergraduate Teaching

Level 1 (Year 1): Artist Development 1: Health and Wellbeing for Musicians

Level 2 (Year 2): Music in Context 2: Introduction to Music Psychology

Level 3 (Year 4): Performance Studies

Level 3 (Years 3 and 4): Elective: Applied Music Psychology: Theory, Practice and Research

Level 3 (Year 4): Practical Pedagogy

Level 3 (Year 4): Independent Research Project

Postgraduate Teaching

Research Methods in Music Psychology

Supervisor: Music Psychology Projects Major (12,000 words) and Minor (8,000 words)

Lecture Recital

Programme Leader, Research Degrees (MPhil and PhD, validated and awarded by Manchester Metropolitan University)

Research Supervision

Research Supervision

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)

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)

Publications

Journal Articles

• Matei, R., & Ginsborg, J. (2023). Why do music students attend counseling? A longitudinal study of reasons at one UK conservatoire. Journal of Research in Music Education. doi:10.1177/00224294231168622
• Cohen, S., & Ginsborg, J. (2022). One year on: The impact of COVID-19 on the lives of freelance orchestral musicians in the UK.. Frontiers in Psychology Performance Science. doi:https://doi.org/10.3389/fpsyg.2022.885606
• Cohen, S., & Ginsborg, J. (2022). The Experiences of Freelance Orchestral Musicians in the UK During the First COVID-19 Lockdown.. MTNA e-journal, 2-7.
• Hopkins, C., Mate-Cid, S., Fulford, R., Seiffert, G., Ginsborg, J., & Barker, N. (2022). Deafness and music: can vibration be used when playing music together?. Frontiers for Young Minds Neuroscience and Psychology.
• Guptill, C., Slade, T., Baadjou, V., Roduta Roberts, M., de Lisle, R., Ginsborg, J., Rennie-Salonen, B., Ackermann, B., Visentin, P., & Wijsman, S. (2022). Validity and reliability of the Musicians’ Health Literacy Questoinnaire, MHL-Q19. Frontiers in Psychology. doi:10.3389/fpsyg.2022.886815
• Zhukov, K., & Ginsborg, J. (2021). Time for practice: Implications of undergraduate pianists’ choices of repertoire. British Journal of Music Education, 1-12. doi:https://doi.org/10.1017/S0265051720000315
• Ginsborg, J., & Bennett, D. (2021). Developing familiarity in a new duo. Rehearsal talk and performance cues.. Frontiers in Psychology: Performance Science Special Issue: International Symposium on Performance Science 2019. doi:10.3389/fpsyg.2021.590987/full
• Cohen, S., & Ginsborg, J. (2021). The experiences of mid-career and seasoned orchestral musicians in the UK during the first COVID-19 lockdown.. Frontiers in Psychology: Performance Science Special Issue Social Convergence in Times of Spatial Distancing: The Role of Music during the COVID-19 pandemic, 12. doi:https://doi.org/10.3389/fpsyg.2021.645967
• Hopkins, C., Mate-Cid, S., Fulford, R., Seiffert, G., & Ginsborg, J. (2021). Perception and learning of relative pitch by musicians using the vibrotactile mode. Musicae Scientiae. doi:https://doi.org/10.1177/10298649211015278
• Couth, S., Loughran, M., Plack, C., Moore, D., Munro, K., Ginsborg, J., Dawes, P., & Armitage, C. (2021). Identifying barriers and facilitators of hearing protection use in early-career musicians: a basis for designing interventions to promote uptake and sustained use.. International Journal of Audiology. doi:10.1080/14992027.2021.1951852
• Chaffin, R., Ginsborg, J., Dixon, J., & Demos, A. (2021). Recovery from memory failure when recalling a memorized performance: The role of musical structure and performance cues. Musicae Scientiae. doi:10.1177/10298649211025491
• Cohen, S., & Ginsborg, J. (2021). The impact of COVID-19 on professional classical orchestral musicians.. Journal of Music, Health and Wellbeing. Special Issue: Musicking through Covid-19..
• Matei, R., & Ginsborg, J. (2020). Physical activity, sedentary behaviour, anxiety, and pain among musicians in the United Kingdom. Frontiers of Psychology: Performance Science, 11(560026), 1-14. doi:10.3389/fpsyg.2020.560026/full
• Ginsborg, J. (2020). Issues in contemporary music culture. SIRP (Estonian Cultural Weekly).
• Araujo, L., Redding, E., Wasley, D., Perkins, R., Atkins, L., Ginsborg, J., & Williamson, A. (2020). Fit to Perform: A Profile of Higher Education Music Students’ Physical Fitness. Frontiers of Psychology.
• Norton, N., Ginsborg, J., & Greasley, A. (2020). Instrumental and vocal teachers in the UK: Demographic characteristics, educational pathways, and beliefs about qualification requirements. Music Education Research.
• Baadjou, V., Wijsman, S., Ginsborg, J., Guptill, C., de Lisle, R., Rennie-Salonen, B., Visentin, P., & Ackermann, B. (2020). Health education literacy and accessibility for musicians: a global approach. Report from the worldwide universities network project. Medical Problems of Performing Artists, June, 107-19.
• Latukefu, L., & Ginsborg, J. (2019). Understanding what we mean by portfolio training in music. British Journal of Music Education, 36(1), 87-102. doi:10.1017/S0265051718000207
• Ginsborg, J. (2018). “The brilliance of perfection” or “pointless finish”? What virtuosity means to musicians. Musicae Scientiae, 22(4), 454-473. doi:10.1177/1029864918776351
• Sloboda, J., & Ginsborg, J. (2018). 25 years of ESCOM: Achievements and challenges. Musicae Scientiae, 22(2), 147-160.
• Zabuska, A., Ginsborg, J., & Wasley, D. (2018). A preliminary comparison study of burnout and engagement in performance students at conservatoires in the UK, Australia and Poland. International Journal of Music Education, 36(3), 366-379. doi:10.1177/0255761417751242
• Lloyd, T., Gaydecki, P., Ginsborg, J., & Yates, C. (2018). Violin impulse response length and perceptions of acceptability. Journal of New Music Research, 47(3), 264-269. doi:10.1080/09298215.2017.1421668
• Bennett, D., & Ginsborg, J. (2018). Audience reactions to the program notes of unfamiliar music. Psychology of Music, 46(4), 588-605. doi:10.1177/0305735617721339
• Matei, R., & 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., Wasley, D., Perkins, R., Atkins, L., Redding, E., Ginsborg, J., & Williamon, A. (2017). Fit to perform: An investigation of higher education music students’ perceptions, attitudes, and behaviors toward health. Frontiers of Psychology, 8, 1558. doi:10.3389/fpsyg2017.01558
• Ginsborg, J., Chaffin, R., & 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., & Ginsborg, J. (2014). Making myself understood: Perceived factors affecting the intelligibility of sung text. Frontiers in Psychology Cognitive Science, 5(809). doi:10.3389/fpsyg.2014.00809
• Fulford, R., & 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., & Ginsborg, J. (2013). Continuing Professional Development in a chamber orchestra: Player and management perspectives. Music Education Research, 16(1), 13-31. doi:10.1080/14613808.2013.788141
• Fulford, R., & 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., & King, E. (2012). Rehearsal talk: familiarity and expertise in singer-pianist duos. Musicae Scientiae, 16(2), 148-167.
• Ginsborg, J., & Chaffin, R. (2011). Preparation and spontaneity in performance: A singer’s thoughts while singing Schoenberg. Psychomusicology Music, Mind & Brain, 21(1&2), 137-158.
• Fulford, R., Ginsborg, J., & Goldbart, J. (2011). Learning not to listen: The experiences of musicians with hearing impairments. Music Education Research, 13(4), 429-446.
• Woellner, C., & 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., & Williamon, A. (2011). Music researchers’ musical engagement. Psychology of Music, 39(3), 364-382.
• Stevens, C., Ginsborg, J., & 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., & Williamon, A. (2009). Health-promoting behaviours in conservatoire students. Psychology of Music, 37(1), 47-60.
• Ginsborg, J., Kreutz, G., Thomas, M., & 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., & 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., & Williamon, A. (2008). Music students’ health problems and health-promoting behaviours. Medical Problems of Performing Artists, 23(1), 3-11.
• Ginsborg, J., & 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., & 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., & 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., & 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(1), 56-99. doi:10.1177/0305735602301007
• Locke, A., Ginsborg, J., & Peers, I. (2002). Development and disadvantage: Implications for the early years and beyond. International Journal of Language and Communication Disorders, 37(1), 3-15. doi:10.1080/13682820110089911
• Ginsborg, J. (1997). Singers memorising a new song: An observational study. Quaderni della SIEM, Societa Italiana per l’Educazione Musicale, 12(2), 78-88.
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Conference Contributions

• Ginsborg, J. Keynote lecture: "Working together: Collaborative research in collaborative music making." given at  10th International Conference on Music/Sonic Art: Practices and Theories. Collaborative Creativity/Creative Collaboration., Karlsruhe, Germany,  1 June 2019 2019
• Ginsborg, J. Issues in contemporary music culture. 100th anniversary conference of the Estonian Academy of Music and Theatre given at  100th anniversary conference of the Estonian Academy of Music and Theatre, Tallinn,   2019
• Ginsborg, J. Memory and music: Research and practice for performers given at  Psychology and Music: Interdisciplinary Encounters, Serbia,  25 October 2019
• Ginsborg, J. Working together: Collaborative research on collaborative music making. given at  Performance Studies Conference, Beijing, China,  14 June 2019
• Ginsborg, J. Working together: Collaborative research on collaborative music making. given at  10th International Conference on Music/Sonic Art: Practices and Theories (MuSA), Germany,  1 June 2019
• Ginsborg, J., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & 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., & Gayford, C. Feeling Sound: Listeners’ experience of topical pitch perception given at  International Conference on Music Communication Science 2009, Australia,  December
• Ginsborg, J., & 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., & 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., & 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

Edited Books

• Clegg, J., & Ginsborg, J. (Eds.) . (2006) Language and Social Disadvantage: Theory into practice. Chichester, UK: John Wiley & Son Publishers Ltd.

Chapters in Books

• Ginsborg, J. (2022). Memorization In G. McPherson.(Eds.) Oxford Handbook of Music Performance, Vol. 1 . Oxford University Press. doi: 10.1093/oxfordhb/9780190056285.001.0001
• Ginsborg, J., & Bennett, D. (2021). Developing familiarity: Rehearsal talk in a newly-formed duo. In R. Timmers., F. Bailes., & H. Daffern.(Eds.) Together in Music: Participation, Co-Ordination, and Creativity in Ensembles. (pp 89-95 ). Oxford University Press.
• Ginsborg, J. (2020). The singer as researcher. In A. Cohen., H. Gudmundsdottir., & C. Beynon.(Eds.) Routledge Companion to Interdisciplinary Studies in Singing, Volume II: Education . Routledge. doi: doi.org/10.4324/9781315162607
• Ginsborg, J. (2018). Memory in music listening and performance In P. Hansen., & B. Blaesing.(Eds.) Performing the remembered present: The cognition of memory in theatre and music (pp 69-96 ). Bloomsbury.
• Ginsborg, J. (2018). Small ensembles in rehearsal. In J. Rink., & H. Gaunt.(Eds.) Musicians in the Making: Pathways to Creative Performance (pp 164-185 ). 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 ). Springer.
• Ginsborg, J. (2014). Elite performance In W. Thompson.(Eds.) Encyclopaedia of Music in the Social and Behavioral Sciences (pp 370-372 ). 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 ). SAGE Publications.
• Woellner, C., Ginsborg, J., & Williamon, A. (2013). Familiarity and reflexivity in the research process In E. King., & H. Prior.(Eds.) Music and Familiarity: Listening, Musicology and Performance (pp 175-196 ). Ashgate Press.
• Fulford, R., & Ginsborg, J. (2013). Can you see me? The effects of visual contact on musicians’ movements in performance In M. Wyers., & O. Glieca.(Eds.) Sound Music and the Moving-Thinking Body (pp 109-118 ). Cambridge Scholars Publishing.
• GInsborg, J., Spahn, C., & Williamon, A. (2012). Health promotion in higher music education In R. MacDonald., G. Kreutz., & L. Mitchell.(Eds.) Music, Health and Wellbeing (pp 356-366 ). Oxford University Press.
• Ginsborg, J., & Chaffin, R. (2011). Performance cues in singing: evidence from practice and recall In I. Deliege., & 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 University Press.
• King, E., & GInsborg, J. (2011). Gestures and glances: Interactions in ensemble rehearsal In A. Gritten., & E. King.(Eds.) New Perspectives on Music and Gesture (pp 177–201 ). 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 ). 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., & J. Ginsborg.(Eds.) Language and Social Disadvantage (pp 9-27 ). Wiley.
• Ginsborg, J. (2004). Strategies for memorising music In A. Williamon.(Eds.) Musical Excellence: Strategies and techniques to enhance performance (pp 123-141 ). 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 ). Ashgate.

Authored Books

• Williamon, A., Ginsborg, J., Perkins, R., & Waddell, G. (2021). Performing Music Research. Oxford: Oxford University Press.

Professional Activity

2021-2022 Chair, Board of Trustees, Music in the Round, Sheffield

2020 – Member, Research Advisory Board, Help Musicians

2019 – Chair of the Psychosocial Working Group of the Medical Committee, British Association for Performing Arts Medicine (BAPAM)

2019 – Chair, Artistic Sub-Committee, Music in the Round, Sheffield 

2017 – 2020  Member of AHRC Peer Review College

2016 – Board Member (Deputy Chair since 2020), 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)