Music, Informal Learning and the School
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Product Description
This pioneering book reveals how the music classroom can draw upon the world of popular musicians' informal learning practices, so as to recognize and foster a range of musical skills and knowledge that have long been overlooked within music education. It investigates how far informal learning practices are possible and desirable in a classroom context; how they can affect young teenagers' musical skill and knowledge acquisition; and how they can change the ways students listen to, understand and appreciate music as critical listeners, not only in relation to what they already know, but beyond.It examines students' motivations towards music education, their autonomy as learners, and their capacity to work co-operatively in groups without instructional guidance from teachers. It suggests how we can awaken students' awareness of their own musicality, particularly those who might not otherwise be reached by music education, putting the potential for musical development and participation into their own hands.Bringing informal learning practices into a school environment is challenging for teachers. It can appear to conflict with their views of professionalism, and may at times seem to run against official educational discourses, pedagogic methods and curricular requirements. But any conflict is more apparent than real, for this book shows how informal learning practices can introduce fresh, constructive ways for music teachers to understand and approach their work. It offers a critical pedagogy for music, not as mere theory, but as an analytical account of practices which have fundamentally influenced the perspectives of the teachers involved.Through its grounded examples and discussions of alternative approaches to classroom work and classroom relations, the book reaches out beyond music to other curriculum subjects, and wider debates about pedagogy and curriculum.
About the Author
Lucy Green is Professor of Music Education in The Institute of Education, University of London, UK.
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First Sentence
The above extract is from a 'fly-on-the-wall' recording of a group of 13- to 14-year-old pupils working together in a school practice room. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
The above extract is from a 'fly-on-the-wall' recording of a group of 13- to 14-year-old pupils working together in a school practice room. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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3 of 3 people found the following review helpful
A must read for Music Teachers
15 Jun 2010
Format:Paperback|Amazon Verified Purchase
This is an excellent and must-read book especially for music teachers interested in exploring and challenging alternate avenues for musical learning. The book is really a case study conducted in Great Britain where high school general music classes were given instruments without instruction, and asked to simply 'figure out' how to play the student selected songs. The findings of this study are amazing and very insightful especially in regards to how people approach and learn music when left to their own devices. This book isn't an advocacy for a particular methodology, and even Green agrees that the methods used in the case study would be too extreme as a standard generalized approach, but it does offer quite a lot of insight that challenges many of our assumes in regards to traditional general music approaches. And for those people weary of case studies filled with mind-numbing statistical, this book rightly avoids drowning the reading with endless numbers. Much of the findings are based on personal interviews with the teachers and students who partook in the study.
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