By Lucy Green
This pioneering booklet unearths how the tune lecture room can draw upon the realm of renowned musicians' casual studying practices, in an effort to realize and foster a number of musical abilities and data that experience lengthy been ignored inside of track schooling. It investigates how a ways casual studying practices are attainable and fascinating in a school room context; how they could have an effect on younger little ones' musical ability and data acquisition; and the way they could switch the methods scholars hearken to, comprehend and get pleasure from tune as severe listeners, not just on the subject of what they already comprehend, yet beyond.It examines scholars' motivations in the direction of tune schooling, their autonomy as beginners, and their means to paintings co-operatively in teams with out educational suggestions from academics. It indicates how we will be able to wake up scholars' wisdom in their personal musicality, rather those that would possibly not rather be reached by means of track schooling, placing the potential of musical improvement and participation into their very own hands.Bringing casual studying practices right into a tuition surroundings is hard for lecturers. it will probably seem to clash with their perspectives of professionalism, and should now and then appear to run opposed to reliable academic discourses, pedagogic tools and curricular specifications. yet any clash is extra obvious than actual, for this ebook indicates how casual studying practices can introduce clean, optimistic methods for song academics to appreciate and procedure their paintings. It bargains a serious pedagogy for song, no longer as mere conception, yet as an analytical account of practices that have essentially prompted the views of the lecturers involved.Through its grounded examples and discussions of different techniques to school room paintings and school room kinfolk, the ebook reaches out past song to different curriculum topics, and wider debates approximately pedagogy and curriculum.
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Extra info for Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Popular and Folk Music)
The above findings, gleaned from over 1,500 pupils in 21 schools, would seem to confirm this. Whilst, as I will argue later, there is something almost natural about informal music learning practices, our society has for decades or even centuries, alienated us from them by removing them from the realm of everyday life, as well as from that of formal music education, so that we are now in a position of having to teach them back to ourselves! The main benefit that I hope this study offers is an illustration of young people’s responses to informal learning practices that have been adapted for the music classroom.
This related to the development of policies and practice concerning provision, whose effects cannot be considered here. The presence of one or two researchers, and occasionally other visitors in each classroom of course altered the normal situation as well. I have carefully compared the findings from the schools affected by this, with those in which no additional people, or only one additional person, was present, and can conclude that there appears to have been no significant effect on findings overall.
In the end, all 17 of the Hertfordshire teachers in the final questionnaire agreed that using informal approaches in the classroom had ‘changed their approaches to teaching for the better’. If there is any strength in the approach, I think it must lie in the fact that the strategies were developed by learners, through learning, rather than by teachers through teaching. They derive, not from a theory of learning drawn from an experimental or formal educational situation, or from an analysis of a musical outcome, but from observation and analysis of real-life learning practices by musicians in the world outside formal education.