Comparing the characteristics of informal popular music learning and those of formal music education, this study is based on the outcomes of research from interviews which took place between October 1998 and May 1999 with 14 popular musicians living in and around London, aged from 15 to 50.
Comparing the characteristics of informal popular music learning and those of formal music education, this study is based on the outcomes of research from interviews which took place between October 1998 and May 1999 with 14 popular musicians living in and around London, aged from 15 to 50.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Lucy Green is Professor of Music Education at the Institute of Education, University of London. Her other books include Music, Informal Learning and the School: A New Classroom Pedagogy (2008); Music, Gender, Education (1997) and Music on Deaf Ears (1988).
Inhaltsangabe
Contents: Foreword, Robert Fripp What is it to be musically educated?: Research methods Concluding thoughts Skills, knowledge and self-conceptions of popular musicians: the beginnings and the ends: The 'beginnings' Professional musicianship: the 'ends' Some self-conceptions of popular musicians Learning to play popular music: acquiring skills and knowledge: The overriding learning practice: listening and copying Peer-directed learning and group learning Acquiring technique Practice Acquiring knowledge of technicalities Summary Attitudes and values in learning to play popular music: Discipline and osmosis Enjoyment Valuing musicianship Valuing oneself Attitudes to 'other' music Summary Popular musicians in traditional music education: Classical instrumental tuition Traditional classroom music education Summary Popular musicians in the new music education: Popular music instrumental tuition The new classroom music education Popular music in further and higher education The musician's views of popular music in formal education Summary The formal and the informal: mutual reciprocity or a contradiction in terms?: The neglect of informal learning practices in formal music education Informal learning practices, attitudes and values: their potential for the formal sphere What can teachers do? Appendix: summary profiles of the musicians Bibliography Index.
Contents: Foreword, Robert Fripp What is it to be musically educated?: Research methods Concluding thoughts Skills, knowledge and self-conceptions of popular musicians: the beginnings and the ends: The 'beginnings' Professional musicianship: the 'ends' Some self-conceptions of popular musicians Learning to play popular music: acquiring skills and knowledge: The overriding learning practice: listening and copying Peer-directed learning and group learning Acquiring technique Practice Acquiring knowledge of technicalities Summary Attitudes and values in learning to play popular music: Discipline and osmosis Enjoyment Valuing musicianship Valuing oneself Attitudes to 'other' music Summary Popular musicians in traditional music education: Classical instrumental tuition Traditional classroom music education Summary Popular musicians in the new music education: Popular music instrumental tuition The new classroom music education Popular music in further and higher education The musician's views of popular music in formal education Summary The formal and the informal: mutual reciprocity or a contradiction in terms?: The neglect of informal learning practices in formal music education Informal learning practices, attitudes and values: their potential for the formal sphere What can teachers do? Appendix: summary profiles of the musicians Bibliography Index.
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