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E-grāmata: Music, Informal Learning and the School: A New Classroom Pedagogy

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Music, Informal Learning and the School: A New Classroom PedagogyPalielināt
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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.

Recenzijas

'If you want to teach popular music in schools then find out how successful popular musicians learn and apply these methods in the classroom. This blindingly simple insight has eluded much pedagogic practice to date. By innovatively theorising, demonstrating, and assessing the practical implementation of this, Lucy Green may have provided a manifesto for rebalancing classroom music teaching and setting it on a new and more fruitful track.' John Sloboda, FBA. Keele University. Author of The Musical Mind The book should be of interest to music educators, but also to teachers in any discipline as the ideas of the book can potentially be implemented in other educational settings than those concerned with music. Educators outside of the UK can also adopt such pedagogical strategies to their classroom, provided that they adapt the pedagogy so that it covers their curriculum content. The book should also be of interest to curriculum-designers and policy makers. Educate ... this is a very important music education book, not only challenging established views and prejudices of music teaching, but also demonstrating how teachers could act to make a difference and work for change. Reading this book is a must for every music educator, not necessarily with the aim of copying every detail of the project, but to relate to, reflect and act upon in his/her ongoing music teaching. This project is also a very good example of praxis-based research. The thick descriptions and the sharp, well-structured analyses offer a great amount of valuable knowledge to researchers as well as educators. Music Education Research ... the sophisticated and methodical analysis that Green brings to this work is a helpful illumination that should empower, promote and extend the activity of music educators across our schools. Journal of Music Technology and Education Viewed altogether, the Musical Futures initiative, the empirical authority and depth of this project, and finally

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