To see the other types of publications on this topic, follow the link: Informal music education.
Books on the topic 'Informal music education'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 25 books for your research on the topic 'Informal music education.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse books on a wide variety of disciplines and organise your bibliography correctly.
1
Green, Lucy. Music, informal learning and the school: A new classroom pedagogy. Burlington, VT: Ashgate, 2007.
Find full text
2
Linton, Leslie. Elementary music education, informal learning, and the new sociology of childhood. Lewiston, NY: The Edwin Mellen Press, 2015.
Find full text
3
Future prospects for music education : corroborating informal learning pedagogy - 1. edicion. Cambridge scholars publishing, 2012.
Find full text
4
Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Popular and Folk Music). Ashgate Pub Co, 2008.
Find full text
5
Brown, Andrew R. Algorithms and Computation in Music Education. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.17.
Full textAbstract:
The chapter discusses how bringing music and computation together in the curriculum offers socially grounded contexts for the learning of digital expression and creativity. It explores how algorithms codify cultural knowledge, how programming can assist students in understanding and manipulating cultural norms, and how these can play a part in developing a student’s musicianship. In order to highlight how computational thinking extends music education and builds on interdisciplinary links, the chapter canvasses the challenges, and solutions, involved in learning through algorithmic music. Practical examples from informal and school-based educational contexts are included to illustrate how algorithmic music has been successfully integrated with established and emerging pedagogical approaches.
6
Mesbur, Lisa. Choosing to play: Adolescent girls and informal music learning. 2006.
Find full text
7
Benedict, Cathy, Patrick Schmidt, Gary Spruce, and Paul Woodford, eds. The Oxford Handbook of Social Justice in Music Education. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199356157.001.0001.
Full textAbstract:
This handbook seeks to present a wide-ranging and comprehensive survey of social justice in music education. Contributors from around the world interrogate the complex, multidimensional, and often contested nature of social justice and music education from a variety of philosophical, political, social, and cultural perspectives. Although many chapters take as their starting point an analysis of how dominant political, educational, and musical ideologies serve to construct and sustain inequities and undemocratic practices, authors also identify practices that seek to promote socially just pedagogy and approaches to music education. These range from those taking place in formal and informal music education contexts, including schools and community settings, to music projects undertaken in sites of repression and conflict, such as prisons, refugee camps, and areas of acute social disadvantage or political oppression. In a volume of this scope, there are inevitably many recurring themes. However, common to many of those music education practices that seek to create more democratic and equitable spaces for musical learning is a belief in the centrality of student agency and a commitment to the too-often silenced voice of the learner. To that end, this Handbook challenges music educators to reflect critically on their own beliefs and pedagogical practices so that they may contribute more effectively to the creation and maintenance of music learning environs and programs in which matters of access and equity are continually brought to the fore.
8
McPherson, Gary E., and Graham F. Welch, eds. The Oxford Handbook of Music Education, Volume 1. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199730810.001.0001.
Full textAbstract:
Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.
9
Garrett, Matthew L., and Joshua Palkki. Honoring Trans and Gender-Expansive Students in Music Education. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197506592.001.0001.
Full textAbstract:
Trans and gender-expansive (TGE) youth deserve safe and empowering spaces to engage in high-quality school music experiences. Supportive music teachers ensure that all students have access to ethically and pedagogically sound music education. In this practical resource, authors Matthew Garrett and Joshua Palkki encourage music educators to honor gender diversity through ethically and pedagogically sound practices. Honoring Trans and Gender-Expansive Students in Music Education is intended for music teachers and music teacher educators across choral, instrumental, and general music classroom environments. Grounded in theory and nascent research, the authors provide historical and social context, and practical direction for working with students who inhabit a variety of spaces among a gender-identity and expression continuum. Trans and gender-expansive students often place their trust in music teachers, with whom they have developed a deep bond over time. It is essential, then, for music teachers to understand how issues of gender play out in formal and informal school music environments. Stories of TGE youth and their music teachers anchor practical suggestions for honoring students in school music classrooms and in more general school contexts. Part I of the book establishes the context needed to understand and work with TGE persons in school music settings by presenting essential vocabulary and foundational concepts related to trans and gender identity and expression. Part II focuses on praxis by connecting research and teaching pedagogy to practical applications of inclusive teaching practices to honor TGE students in school music classrooms.
10
Moir, Zack. Popular Music Making and Young People. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.9.
Full textAbstract:
Many young people are involved in music making activities that may be considered as “leisure,” such as playing in bands, making recordings, or live performance. Music making, when considered as a leisure activity, is a cultural or social phenomenon that enjoys an interesting and complex relationship with education and industry. First, this chapter explores the ways in which young people engage with popular music making as leisure and leisure-education by considering the nature of musical activities that are self-directed, self-funded, and fuelled principally by the enthusiasm and autodidacticism of the participants. Second, consideration is given to the ecology of informal music making among young people with specific focus on the development of skills, competencies and creativities, and the economic, commercial, and professional pressures to monetise musical activity.
11
Bull, Anna. Class, Control, and Classical Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190844356.001.0001.
Full textAbstract:
Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.
12
Waldron, Janice L., Stephanie Horsley, and Kari K. Veblen, eds. The Oxford Handbook of Social Media and Music Learning. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190660772.001.0001.
Full textAbstract:
The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.
13
Kallio, Alexis A., and Lauri Vakeva. Inclusive Popular Music Education? Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.4.
Full textAbstract:
This chapter surveys the history of popular music education in Nordic countries and explores scenarios for possible interpretations, resulting in a rich and informed critique of the field. The chapter offers a comparative overview of approaches to popular music education in the Nordic countries, focusing on the rationales for including popular music in the curriculum. A dominant rationale has been that popular music has unique democratic potentials. The analysis brings nuance to the situation, arguing that popular music genres “are not necessarily democratic in and of themselves.” Popular music education policies can, in fact, be instruments of social exclusion.
14
Talty, Jack. Noncanonical Pedagogies for Noncanonical Musics. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0005.
Full textAbstract:
This chapter explores the ways in which a selection of European pedagogues and institutions involved in folk, traditional, world music, and popular music education navigate a world of music pedagogy that has been historically dominated by the Western classical tradition. More specifically, it interrogates how pedagogues draw on, adapt, or depart from Western classical pedagogy to manage “canonicity” in music education and to negotiate the needs and expectations of local musical communities. The research, informed by interviews conducted with individuals at eight European music departments, suggests that pedagogical ideologies that are self-reflexive and flexible are easily tailored to suit specific educational goals. Further, collaborative dialogue between higher education and extra-institutional practitioners ensures that perceived disconnects between higher education and community are mitigated.
15
Hicks, Michael, and Christian Asplund. Orpheus in Tennis Sneakers. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037061.003.0001.
Full textAbstract:
This chapter describes Wolff's childhood and formative years in the world of music. Born to cellist Kurt Wolff and his wife Helen in 1934, Christian Wolff grew up during an era of political unrest, which later culminated in the Second World War. Though born in France to German parents, Wolff would spend a significant part of his life in the United States, where he had begun an informal education in music, and where he would eventually study under his mentor John Cage, from whom Wolff would draw the fundamental ideas, habits, and relationships that would guide the rest of his compositional career. Here, the chapter shows how Wolff's early opus—which set the pattern for all his subsequent compositional periods—were formed and influenced through Cage's instruction. Yet the chapter shows that this influence proved reciprocal, with Wolff likewise leaving his own lasting impacts upon Cage's compositional career.
16
Bernard, Cara Faith, and Joseph Michael Abramo. Teacher Evaluation in Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190867096.001.0001.
Full textAbstract:
Facing an “age of accountability,” teachers are subject to increasing evaluation and scrutiny from school administrators, politicians, and the public. This book provides music teachers with strategies to help them thrive in teacher evaluation amid this increased scrutiny. Embedded in educational research and theory and explained using real-world teaching situations, this book helps music teachers find balance between advocating for themselves and remaining open to feedback. The introduction provides background on teacher evaluation systems, including commonly found components and requirements. Chapter 1 details a brief history of teacher evaluation policies and laws in the United States. Chapter 2 provides a framework to help music teachers successfully use teacher evaluation to spark professional growth. Chapters 3 through 6 delve into four key areas that music teachers often struggle with in order to prepare them for observations and discussions with evaluators and improve practice: questioning strategies, differentiation, literacy, and assessment. At the end of each of these chapters are sample lesson plans that demonstrate ways to implement these pedagogical strategies in music classrooms. The final chapter discusses how to talk to evaluators. It explores how music teachers might inform evaluators about the unique challenges and strategies in music education while also remaining open to feedback. It discusses how to talk to both music and non-music evaluators, including those who are poor communicators and those who might not provide sound advice on teaching. Finally, the postlude reminds readers of the importance of approaching teacher evaluation as a means for reflection and professional growth.
17
Duffy, Celia, and Joe Harrop. Towards convergence. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0020.
Full textAbstract:
This chapter concerns the interrelationship between music history and analysis—so-called academic studies—and musical performance, and it considers how such studies might affect or influence the student performer. Until recently, musical performance and academic studies were regarded as separate elements in music education, a separation that is now being challenged. The chapter begins by reviewing existing scholarship on performance studies and by exploring how the concerns of historically informed performance and practice as research can bring the questions underlying that scholarship into focus, even in undergraduate curricula. The discussion then turns to the higher education (HE) music environment and recent educational thinking seeking to unite distinct strands of musical study within a single curriculum. Two modules that attempt to integrate performance and scholarship—one from a university music department and one from a conservatoire—serve as exemplars. In the final section, opinions and observations solicited from musicians working in HE throw light on the issues from divergent perspectives. The overriding themes are duality and separation on the one hand and connections and convergence on the other—of ‘thinkers’ and ‘doers’, insight and analysis, formal and tacit knowledge, conservatoires and universities, and academic lectures and one-to-one performance tuition.
18
Bauer, William I. Music Learning Today. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.001.0001.
Full textAbstract:
Grounded in a research-based, conceptual model called Technological Pedagogical and Content Knowledge (TPACK), the essential premise of Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes—creating, performing, and responding to music. Insights on how technology can be used to advantage in both traditional and emerging learning environments are provided, and research-based pedagogical approaches that align technologies with specific curricular outcomes are described. Importantly, the book advocates that the decision on whether or not to utilize technology for learning, and the specific technology that might be best suited for a particular learning context, should begin with a consideration of curricular outcomes (music subject matter). This is in sharp contrast to most other books on music technology that are technocentric, organized around specific software applications and hardware. The book also recognizes that knowing how to effectively use the technological tools to maximize learning (pedagogy) is a crucial aspect of the teaching-learning process. Drawing on the research and promising practices literature in music education and related fields, pedagogical approaches that are aligned with curricular outcomes and specific technologies are suggested. It is not a “how to” book per se, but rather a text informed by the latest research, theories of learning, and documented best practices, with the goal of helping teachers develop the ability to understand the dynamics of effectively using technology for music learning.
19
(Organization), Early Music America, ed. Register of early music in America: Organizations, educational institutions & individuals in the field of historically-informed performance in North America. New York, NY: Early Music America, 1989.
Find full text
20
Lewis, George E., and Benjamin Piekut, eds. The Oxford Handbook of Critical Improvisation Studies, Volume 1. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195370935.001.0001.
Full textAbstract:
Improvisation informs a vast array of human activities, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. These volumes gather scholarship on improvisation from a similarly wide range of perspectives, with contributions from more than 60 scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.
21
Piekut, Benjamin, and George E. Lewis, eds. The Oxford Handbook of Critical Improvisation Studies, Volume 2. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199892921.001.0001.
Full textAbstract:
Improvisation informs a vast array of human activities, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. These volumes gather scholarship on improvisation from a similarly wide range of perspectives, with contributions from more than 60 scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.
22
Hill, Juniper. Becoming Creative. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199365173.001.0001.
Full textAbstract:
How are an individual’s ability and motivation to be creative shaped by the world around her? Why does creativity seem to flourish in some environments, while in others it is stifled? Many societies value creativity as an abstract concept and many, perhaps even most, individuals feel an internal drive to be creative; however, tremendous social pressures restrict development of creative skill sets, engagement in creative activities, and willingness to take creative risks. Becoming Creative explores how social and cultural factors enable or inhibit creativity in music. The book integrates perspectives from ethnomusicology, education, sociology, psychology, and performance studies, prioritizing the voices of practicing musicians and music educators. Insights are drawn from ethnographic research and in-depth interviews with classical, jazz, and traditional musicians in South Africa, Finland, and the United States. By comparing and analyzing these musicians’ personal experiences, Becoming Creative deepens our understanding of the development and practice of musical creativity, the external factors that influence it, and strategies for enhancing it. The book reveals the common components of how musical creativity is experienced across these cultures and explains why creativity might not always be considered socially desirable. It identifies ideal creativity-enabling criteria—specific skill sets, certain psychological traits and states, and access to opportunities and authority—and illustrates how these enablers of creativity are fostered or thwarted by a variety of beliefs, learning methods, social relationships, institutions, and social inequalities. Becoming Creative further demonstrates formal and informal strategies for overcoming inhibitors of creativity.
23
McCarthy, Marie. Creating a Framework for Music Making and Leisure. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.13.
Full textAbstract:
This chapter revisits the writings of music sociologist and educator Max Kaplan (1911–1998) to inform efforts to bring together the domains of leisure and music making in the twenty-first century. The chapter begins with a brief description of Max Kaplan’s life that explains his orientation to the social functions of music, sociology, and leisure studies, and that situates his contributions in the context of his time—the mid and late twentieth century. Following the introduction, the chapter is organized around themes from Kaplan’s published works and projects: patterns of development in leisure and recreation, 1900–1960; changing conceptions of leisure and recreation in the mid-twentieth century; a theory of recreational music; community as fertile ground for observing leisure in action; music making in the context of leisure; and moving forward with Kaplan’s vision.
24
(Organization), Early Music America, ed. Supplement to the Register of early music in America: Performers, writers, ensembles, instrument makers, presenters, retailers, societies, educational institutions & others in the field of historically-informed performance in North America, 1991. New York, NY: Early Music America, 1991.
Find full text
25
Gooley, Dana. PreludeThe Virtue of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0001.
Full textAbstract:
IN RECENT TIMES improvisation has made a significant comeback in classical music concerts, education, and scholarship. Pianist Robert Levin has injected fresh life into Mozart by improvising ornaments, lead-ins, and whole cadenzas to Mozart concertos. More impressively still, he plays free fantasies in Mozart style on themes given by the concert audience. Gabriela Monteiro has built a distinctive reputation among concert pianists by improvising at length on themes solicited from the audience, drawing on an eclectic range of styles from Bach-like baroque to modern jazz. Early music practitioners have long understood the importance of improvisation to historically informed practice, but artists such as violinist Andrew Manze and harpsichordist Richard Egarr have pressed it to new limits. Organist Thierry Escaich has been inventing entire four-movement symphonies on themes suggested by the audience, setting a new standard for a tradition already rich in improvisation. Students and fans of these elite musicians are showing signs that they intend to keep the flame burning by cultivating improvisational practice in various classical idioms....