General Editor's preface |
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vii | |
Acknowledgements |
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ix | |
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1 | (22) |
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The aims and rationale of this book |
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1 | (4) |
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Background research: how popular musicians learn |
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5 | (4) |
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The underlying principles of the project |
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9 | (2) |
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The project in historical perspective |
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11 | (3) |
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14 | (7) |
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The beginning, and the ends, of the project |
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21 | (2) |
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The project's pedagogy and curriculum content |
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23 | (18) |
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Stages 1-7: overall pedagogy and content |
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23 | (4) |
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Teachers' initial responses and the apparent conflict with official approaches |
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27 | (3) |
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The role of the teacher: an overview |
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30 | (8) |
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The start of Stage 1: chaos, its aftermath and the questions it raised |
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38 | (3) |
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41 | (26) |
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Social distinction and the emergence of `natural music learning practices' |
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41 | (2) |
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Listening, choosing and beginning to copy: an example from the first lesson |
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43 | (2) |
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Listening and choosing the song |
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45 | (1) |
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46 | (1) |
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A note on the availability of instruments in the classrooms |
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47 | (1) |
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Playing untuned percussion |
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48 | (2) |
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Finding pitches on instruments |
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50 | (2) |
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Progression: getting worse before you get better |
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52 | (2) |
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The authority of the CD as distinct from the authority of the teacher |
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54 | (2) |
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56 | (3) |
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59 | (3) |
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A note on musical composition, improvisation and creativity |
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62 | (1) |
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What counts as learning in music-making? Pupils' and teachers' views of the learning outcomes |
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62 | (5) |
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Listening and appreciation |
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67 | (26) |
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Pupils' musical vocabulary |
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68 | (3) |
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Pupils' aural approaches to the task: purposive listening |
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71 | (2) |
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The further development of pupils' listening capacities |
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73 | (2) |
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Listening beyond the project |
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75 | (3) |
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78 | (2) |
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The progression of listening and appreciation through Stages 1-5 |
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80 | (3) |
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Music appreciation and the development of `critical musicality' |
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83 | (2) |
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Teachers' views on listening |
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85 | (2) |
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Listening, musical meaning and experience in the classroom |
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87 | (6) |
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Enjoyment: making music and having autonomy |
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93 | (26) |
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Bobby's group: `'cause it was boring' |
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94 | (1) |
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Enjoyment, `fun' and the `normal' curriculum: learner autonomy and curriculum choice |
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95 | (7) |
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Learner autonomy and pedagogy |
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102 | (8) |
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110 | (3) |
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Enjoyment, motivation and application: teachers' expectations and views |
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113 | (6) |
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Group co-operation, ability and inclusion |
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119 | (30) |
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Group learning and peer-directed learning in the music classroom |
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119 | (13) |
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Group co-operation, group learning and peer-directed learning as learning outcomes |
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132 | (3) |
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Ability, achievement and differentiation |
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135 | (5) |
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140 | (9) |
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Informal learning with classical music |
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149 | (32) |
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The rationale, pedagogy and curriculum content of Stages 6 and 7 |
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150 | (4) |
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Pupils' views of classical music |
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154 | (4) |
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Observations and interviews in Stages 6 and 7 |
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158 | (10) |
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Did pupils' views of classical music change? |
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168 | (7) |
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The `normal curriculum', classical music and `other' music |
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175 | (3) |
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Teachers' views of the classical stages |
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178 | (2) |
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Why did pupils' views of classical music change? |
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180 | (1) |
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181 | (6) |
Appendix A Information about schools |
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187 | (6) |
Appendix B The project stages in brief |
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193 | (2) |
Bibliography |
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195 | (14) |
Index |
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209 | |