Academic literature on the topic 'Informal musical learning'
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Journal articles on the topic "Informal musical learning"
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Folkestad, Göran. "Formal and informal learning situations or practices vs formal and informal ways of learning." British Journal of Music Education 23, no. 2 (June 29, 2006): 135–45. http://dx.doi.org/10.1017/s0265051706006887.
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During the last decade there has been an awakening interest in considering not only formalised learning situations within institutional settings, but also all the various forms of informal musical learning practices outside schools. Informal musical learning outside institutional settings has been shown to contribute to important knowledge and aspects of music education. In this article, I will examine research studies which in different ways focus on formal and informal learning situations and practices or formal and informal ways of learning. I will consider the relationship between music education as praxis (music pedagogy) and as research, and the relationship between these two facets of music education and the surrounding society. I will identify four different ways of using and defining formal and informal learning, respectively, either explicitly or implicitly, each one focusing on different aspects of learning: (i) the situation, (ii) learning style, (iii) ownership, and (iv) intentionality. Formal – informal should not be regarded as a dichotomy, but rather as the two poles of a continuum; in most learning situations, both these aspects of learning are in various degrees present and interacting. Music education researchers, in order to contribute to the attainment of a multiplicity of learning styles and a cultural diversity in music education, need to focus not only on the formal and informal musical learning in Western societies and cultures, but also to include the full global range of musical learning in popular, world and indigenous music in their studies.
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Rose, D., A. Jones Bartoli, and P. Heaton. "Formal-informal musical learning, sex and musicians' personalities." Personality and Individual Differences 142 (May 2019): 207–13. http://dx.doi.org/10.1016/j.paid.2018.07.015.
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Sexton, Fiona. "Practitioner challenges working with informal learning pedagogies." British Journal of Music Education 29, no. 1 (February 21, 2012): 7–11. http://dx.doi.org/10.1017/s0265051711000507.
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Early in my career as a music teacher I was very focused on providing my students with what I believed at the time were a range of musical experiences that broadened their understanding and appreciation of music from a variety of cultures and traditions. However, as I gained more experience, I was able to spend a greater amount of time reflecting on how the pupils were learning as well as what they were learning. Through my engagement in practitioner research I also became more aware of the musical experiences my pupils were having away from school and this led me to realise that an increasingly large number of pupils were already passionate about music but this interest was not necessarily transferring to music within a classroom context. For example, students who were often self-critical about their abilities during classroom music tasks were actually able to demonstrate an increasing level of knowledge and understanding of the music that they were involved in as listeners or performers away from school.
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Hess, Juliet. "Finding the “both/and”: Balancing informal and formal music learning." International Journal of Music Education 38, no. 3 (April 22, 2020): 441–55. http://dx.doi.org/10.1177/0255761420917226.
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This article explores the informal and formal learning experiences of 20 activist-musicians. Multiple activist-musicians utilized the informal learning strategies Green identifies. More than half of the participants, however, bemoaned the lack of more formal music education. They noted that they valued informal musical learning practices and also wished that they had experienced more of a balance between formal and informal music learning strategies in their music education. Many of the participants identified as being self-taught. In interviews, they shared ideas about teaching themselves and “figuring things out” musically. They discussed both wanting to move away from theory and needing theory. They further preferred a structured approach to education before moving to a more “free” pedagogy. Ultimately, they noted that the human relationships intrinsic to musicking may transcend the need for “training.” This article concludes by exploring implications of implementing a balance between formal and informal learning for K-12 schooling and teacher education.
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Gomes, José Duarte Cardoso, Mauro Jorge Guerreiro Figueiredo, Lúcia da Graça Cruz Domingues Amante, and Cristina Maria Cardoso Gomes. "Augmented Reality in Informal Learning Environments." International Journal of Creative Interfaces and Computer Graphics 7, no. 2 (July 2016): 39–55. http://dx.doi.org/10.4018/ijcicg.2016070104.
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Augmented Reality (AR) allows computer-generated imagery information to be overlaid onto a live real world environment in real-time. Technological advances in mobile computing devices (MCD) such as smartphones and tablets (internet access, built-in cameras and GPS) made a greater number of AR applications available. This paper presents the Augmented Reality Musical Gallery (ARMG) exhibition, enhanced by AR. ARMG focuses the twentieth century music history and it is aimed to students from the 2nd Cycle of basic education in Portuguese public schools. In this paper, we will introduce the AR technology and address topics as constructivism, art education, student motivation, and informal learning environments. We conclude by presenting the first part of the ongoing research conducted among a sample group of students contemplating the experiment in educational context.
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Cope, Peter. "Informal Learning of Musical Instruments: The importance of social context." Music Education Research 4, no. 1 (March 2002): 93–104. http://dx.doi.org/10.1080/14613800220119796.
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Carroll, Christine Leanne. "Seeing the invisible: Theorising connections between informal and formal musical knowledge." Research Studies in Music Education 42, no. 1 (March 28, 2019): 37–55. http://dx.doi.org/10.1177/1321103x18824641.
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This article explores the perceived disconnect between informal and formal musical knowledge, through a focused case study which aligned students’ informal knowledge with aspects of the formal curriculum. The upper high school or senior secondary student participants had a background in the creation and performance of popular and contemporary music, and already possessed well-developed informal and aural-based learning skills. Using a latter phase of Green’s (2008) informal learning research as a starting point, the students completed two written tasks: a scoring or transcription exercise, and an analysis report using the music “elements” or “concepts” framework of the syllabus. Legitimation Code Theory (LCT), was utilised in the theoretical appraisal of themes emerging from the study. Employing one LCT dimension known as Semantics, which explores the context-dependence and complexity of knowledge, a range of knowledge types were observed. These made visible points of connection and disconnection between the students’ informal knowledge and the formal knowledge required to complete the tasks. The study highlights the limitations of informal knowledge as a sole basis for formal knowledge construction, but equally unveils points of connection between the two, important in informing teacher facilitation, and, much needed in curriculum reform.
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Hallam, Susan, Andrea Creech, and Hilary McQueen. "Can the adoption of informal approaches to learning music in school music lessons promote musical progression?" British Journal of Music Education 34, no. 2 (March 28, 2017): 127–51. http://dx.doi.org/10.1017/s0265051716000486.
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The aim of this research was to explore the impact of the adoption of the Musical Futures approach on the musical progression of students in Musical Futures’ Champion schools. The research took place over three years in three phases with 733 students and 28 music teachers completing questionnaires. Data from the interviews with 39 staff and focus groups of 325 students provided greater insights into the questionnaire responses. Overall, teachers reported that Musical Futures had enhanced the musical progression of their students and increased take up at Key Stage 4. In some cases this had led to changes in the qualifications on offer with an emphasis on those which were vocational rather than academic. This created some tensions in catering for the needs of different groups of students who had a range of different musical skills.
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Poblete, Carlos, Adrian Leguina, Nicolás Masquiarán, and Bárbara Carreño. "Informal and non formal music experience: power, knowledge and learning in music teacher education in Chile." International Journal of Music Education 37, no. 2 (March 21, 2019): 272–85. http://dx.doi.org/10.1177/0255761419836015.
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Previous research recognizes the importance of musical experiences on music teacher education. However, current efforts do not provide a comprehensive view of the way their students learn music before starting university. The objective of this study is to portray their musical experiences, identifying the distinctive mechanisms underlying the relationship between practices, repertoires, and training contexts for music learning. A combination of pedagogical, social and musical dimensions, inspired by sociological theories of P. Bourdieu and B. Bernstein, examine the pre-university musical experiences and the mediating role of students’ sociocultural origins. Empirically, multimodal information from four Chilean universities ( n = 55) was collected through the application of a survey questionnaire and semi-structured interviews, and analyzed using a set of mixed techniques, including descriptive statistics, text mining, and content analysis. Findings reveal relevant associations between practices, repertoires, and learning contexts, especially in terms of the specialized nature of musical training and the habitus and cultural dispositions of practitioners. Particularly relevant is the predominance of informal and non-formal learning contexts and their translation into specific types of learning. These challenge current perspectives and contribute a tool kit for the understanding of the relationship between power and knowledge in future professional teachers.
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Salavuo, Miikka. "Open and informal online communities as forums of collaborative musical activities and learning." British Journal of Music Education 23, no. 3 (November 2006): 253–71. http://dx.doi.org/10.1017/s0265051706007042.
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Distributing one's music and discussing music-related topics at dedicated web sites have become a common practice for today's young musicians. Technological advances allow both easy production of music at computer-based home studios and free distribution even at a global level. An online survey was conducted to shed light on the reasons for participating in an online music community. The results indicate that although social reasons existed, musical reasons were the most important motives for taking part in the community. The participants were on average fairly active musicians, but only a minority of them had formal musical training.
Dissertations / Theses on the topic "Informal musical learning"
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Mercier, Michelle De Shon. ""Music is Waiting For You:" The Lived Experience of Children's Musical Identity." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/msit_diss/100.
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ABSTRACT
“MUSIC IS WAITING FOR YOU:” THE LIVED EXPERIENCE
OF CHILDREN’S MUSICAL IDENTITY
by
L. Michelle Mercier-De Shon
This phenomenological study of lived experience (Van Manen, 1990) explored the perspectives of four 4th grade children as they live in and live through music to formulate their musical identities. Framed within perspectives of symbolic interaction theory (Blumer, 1969), communities of practice (Wenger, 1998), and figured worlds (Holland, et al., 1998), data were collected using methods consistent with qualitative inquiry. These included: observations of quasi-formal music learning settings, in musical playgroups and during professional musicians’ presentations; close observations of children’s daily school lives; and planned discussion group interviews (O’Reilly, 2005). Findings emerged from the data via a bricolage of existentialist (Morrisette, 1999; Holyroyd, 2001) and interpretative phenomenological analyses (Smith, 2003).
Children in my study explored and expressed their musical identities through self-directed engagement across multiple modalities of singing, listening, performing on instruments, and creating music. They engaged with these modalities in individualized and shared ways. Singing was situated, by context and in concert with social and gender comparisons. Listening, performing, and creating encompassed a trajectory from experimentation to intentionality, with continually embedded exploration and musical play.
Findings indicated that children in middle childhood may actively shape their musical identities within a dynamic nexus of individualized and social continuums of music experience and learning. These continuums may be understood along three dimensions: development; components, i.e., music participation and learning; and processes. The developmental spectrum of children in middle childhood provides a fluid context for understanding musical identity, revealed not as a fixed entity, but through interweaving elements of their past, present, and future musical lives. Self-directed music participation and learning may shape musical identity and provide a context for its expression through both musical and social roles, as children enact musical behaviors through social interaction. Finally, children’s musical identity may be understood as a process, in which personal dialogue meets external discourses, as children continuously negotiate self-conceptions of musicality within and among their musical worlds. Findings indicate that music teachers may offer opportunities for exploration and musical play as a basis for concurrently nurturing the development of musical identities and fostering musical understanding.
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Snead, Todd Edwin. "Dichotomous Musical Worlds: Interactions between the Musical Lives of Adolescents and School Music-Learning Culture." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/msit_diss/53.
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This ethnographic study investigated the interactions between the musical lives of adolescents and school music-learning culture in a suburban high school. Participants included two music teachers and seven adolescents. Framed within a symbolic interactionist perspective (Blumer, 1969), data were collected via methods consistent with qualitative inquiry, including an innovative data collection technique utilizing music elicitation interviews with adolescents. Findings emerged from the data via thematic analysis (Grbich, 2007). Findings indicate limited interactions between the musical lives of adolescents and school music-learning culture because participants portrayed and experienced a dichotomy between the musical assumptions and practices inside and outside of school. Interactions occurred when participants engaged in sharing musical capital that overcame segmentation among music learning, out-of-school experience, and elective participation in secondary school music programs. Supporting findings indicate that the school music-learning culture derived from teachers' negotiating between two major influences: 1) their own musical values, which were based on their musical backgrounds and the long-established professional tradition of formal performance emphases in school music programs; and 2) the musical values of their students. Adolescents self-defined their musical lives as largely informal musical activities commonly experienced outside of school. They expressed a wealth of personal musical knowledge and described their affinity for music across four dimensions: 1) expression and feeling, 2) relevance, 3) quality in artistry and craftsmanship, and 4) diversity. Three themes describe how adolescents’ personal relationships with music influenced their beliefs and choices regarding music participation and learning: 1) musical roots: nurturing personal and social connections with music, 2) motivated learning: seeking relevance and challenge, and 3) finding a voice: striving toward musical independence. Findings indicate that music teachers may enhance interactions between adolescents’ musical lives and school music-learning culture by acknowledging students’ musical engagement outside of school, honoring their personal musical knowledge and interests, and making them collaborators in developing music-learning models rooted in their affinity for, and personal relationships with, music.
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Marcelino, André Felipe. "Grupo de maracatu Arrasta Ilha : dinâmica de aprendizagem musical em uma comunidade de prática." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/1545.
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The purpose of this study is to investigate the dynamics of musical learning established in the maracatu group Arrasta Ilha, from Florinópolis, Brazil. The theoretical foundation for the study combines Etienne Wenger‟s concept of community of practice and practices of informal musical learning presented by Lucy Green. These references were selected because they allow analyzing and understanding dynamics of musical learning in a community of musical practice. By examining attitudes and values of the practices of informal musical learning of popular music, Lucy Green explores the possibilities that these practices can offer to formal musical education, providing references for discussing learning processes that occur among peers through observation and imitation, in both casual meetings and organized sessions. A case study was conducted with a qualitative approach, including participant observation of weekly rehearsals, presentations and workshops promoted by Arrasta Ilha, which were recorded in audio and video. The research results point to five dynamics of musical learning in the group Arrasta Ilha. They are: listening and playing by ear, casual and organized meetings, observation and imitation, solfeje onomatopeais and learning by osmosis. These dynamics are mutually related among the musical activities conducted by the participants. They are given potential within a significant learning environment that is configured as a community of practice, where the participants share a common passion: interest for the musical practice of maracatu, which instigates and gives potential to the musical learnings in this context.
Este trabalho teve como objetivo investigar as dinâmicas de aprendizagem musical que se estabelecem no grupo de maracatu Arrasta Ilha, de Florianópolis-SC, Brasil. A fundamentação teórica da pesquisa combina o conceito de comunidade de prática de Etienne Wenger (2008) e de práticas de aprendizagem musical informal apresentadas por Lucy Green (2002). Tal referencial foi selecionado porque permite analisar e compreender dinâmicas de aprendizagem musical em uma comunidade de prática musical. Ao examinar atitudes e valores das práticas de aprendizagem musical informal de músicos populares, Lucy Green (2002) explora as possibilidades que essas práticas podem oferecer à educação musical formal, trazendo referências para discutir processos de aprendizagem que ocorrem entre pares, através de observação e imitação, tanto em encontros casuais como em sessões organizadas. Foi realizado um estudo de caso de abordagem qualitativa, incluindo observação participante que contemplou ensaios semanais, apresentações e oficinas promovidas pelo Arrasta Ilha grupo focal, registros em áudio e vídeo. Os resultados da pesquisa apontam para cinco dinâmicas de aprendizagem musical no grupo Arrasta Ilha. São elas: escuta e tirar de ouvido , encontros casuais e organizados, observação e imitação, onomatopeias solfejadas e aprender osmoticamente . Essas dinâmicas categorizadas se relacionam mutuamente entre as atividades musicais realizadas pelos participantes. E são potencializadas dentro de um ambiente de aprendizagens significativas que se configura como uma comunidade de prática, onde os participantes compartilham uma paixão em comum: o interesse pela prática musical do maracatu, que instiga e potencializa as aprendizagens musicais nesse contexto.
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Hankins, Elizabeth Aylmer. "An Exploration of Musical Habits of Alumni from “The Lakewood Project” and How They Musick After High School." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1492171182633657.
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Verdelho, Ricardo. "Interpretação e gravação musical em estúdio: aprendizagens e perceções em crianças do 1º ciclo." Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2014. http://hdl.handle.net/10400.26/6490.
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Mestrado em Ensino de Educação Musical no Ensino BásicoEste projeto centra-se na interpretação vocal e instrumental em estúdio e na gravação de um CD áudio e de um videoclipe, com o objetivo de potenciar a motivação e as aprendizagens musicais dos alunos, em contexto profissional. Esta ideia enquadra-se nas perspetivas de criação de contextos diferenciados de aprendizagem e de parcerias com músicos profissionais do meio (e.g. Adams, 2001), que apontam para elevados níveis de motivação e envolvimento dos alunos. A imersão no contexto profissional da música é ainda cruzada com perspetivas de Green (2002) e Swanwick (1979), que referem o potencial educativo do equilíbrio entre processos de aprendizagem formal e informal e entre as atividades musicais de criação, audição e performance. O Projeto Educativo desenvolveu-se na EB1/JI Quinta dos Franceses, Seixal, e envolveu uma turma de 4.º ano do 1º Ciclo do Ensino Básico, onde foi possível desenvolver, ao longo de 9 semanas, um conjunto de aprendizagens e interações ligadas ao espaço estúdio, que culminou com a gravação e realização do CD e do videoclipe. Paralelamente, foi conduzido um estudo qualitativo que pretendeu investigar sobre as aprendizagens e perceções desenvolvidas pelos alunos. Os resultados permitem confirmar que a imersão neste contexto profissional da música contribui significativamente para fortes níveis de motivação que potenciam o desenvolvimento de competências nas áreas da formação pessoal, musical e social. Os resultados aclarados apontam ainda para a validação do duplo papel do professor/músico profissional, que adota uma postura multifacetada nos diversos domínios e que atualiza e revê as suas práticas, permitindo uma ponte entre o contexto escolar e o mundo profissional da música, criando, assim, condições para que as aprendizagens se desenvolvam em ambientes pedagógicos e de rigor profissional.
This project focuses on vocal and instrumental performance in a studio and the recording of an audio CD and a music video in order of enhancing the motivation and musical student learning in a professional context. This idea fits the prospects of creating different learning contexts and partnerships with professional musicians (e.g. Adams, 2001), pointing to high levels of motivation and involvement of students. The immersion in the professional context of music is also crossed with outlooks of Green (2002) and Swanwick (1979), referring to the educational potential of the equilibrium between formal and informal processes of learning and musical activities between the creation, audition and performance. The Education Project was developed in EB1/JI, Seixal, and involved a class of 4th grade of the 1st cycle of Basic Education, where it was possible to develop, over 9 weeks, a set of learnings and interactions associated to studio, which culminated with the recording and performing CD and video music. In addition, a qualitative study aimed to an investigating of learnings and perceptions developed by students. The results confirm that the immersion in this professional context of music contributes significantly to a strong levels of motivation that boost the development skills in the areas of personal, social and musical formation. The results still point to validate the dual role of teacher/professional musician, which adopts a multi-faceted approach in many areas and that updates and revises its practices, allowing a bridge between the school context and the professional world of music, creating conditions for apprenticeships to be developed in learning environments and professional stringency.
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Leme, Luis Santiago Malaga. "Práticas informais no ensino coletivo de sopros: um experimento no Guri." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-093552/.
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Este trabalho apresenta algumas contribuições para uma atualização metodológica e pedagógica do ensino de instrumentos de sopro em aulas coletivas inspirado pelas práticas informais de aprendizagem identificadas por Green (2008), Braga (2005) e Priest (1989) entre outros. As práticas informais são um conjunto de atividades identificadas pela literatura como típicas da música popular ou tradicional que possuem interesse para a educação musical formal. Suas características principais podem ser resumidas como: concessão de espaço e tempo para os alunos improvisarem e experimentarem; livre escolha do repertório e; maior uso de modelos visuais e sonoros dados pelo professor e por gravações trazidas à sala de aula. As práticas informais estão de acordo com a pedagogia de Paulo Freire na medida em que colocam a autonomia como meio de aprendizagem e não apenas como finalidade. A formalização das práticas musicais na direção da escrita e leitura de partituras é um processo antigo correlacionado ao desenvolvimento do racionalismo na história do pensamento ocidental em sua busca pela precisão, segundo Koellreutter (Brito, 2007). O caminho que as práticas musicais tomaram teve seu ápice no século XIX, sendo que o sistema de ensino dos conservatórios constituído nesta época perdura até os dias de hoje na educação musical, em especial no ensino formal e tradicional. É só a partir da segunda metade do século XX que os trabalhos de educação musical procuraram reequilibrar o processo de transmissão da música em busca da oralidade e da subjetividade que quase se perdeu. Este trabalho procura ser mais uma contribuição nesta direção. A pesquisa procurou implementar as práticas informais seguindo em linhas gerais o modelo sugerido por Green (2008) mas também incorporando as contribuições de outros autores como Braga (2005) e Priest (1989) no curso de iniciação aos instrumentos de sopro do Guri. O foco principal foi a análise do comportamento dos alunos perante as atividades, geralmente pouco estruturadas, bem como de seu desenvolvimento musical ao longo das aulas, utilizando o método de pesquisa baseado no estudo de caso instrumental. Apesar de vários percalços ao longo do trabalho, os resultados obtidos foram bastante favoráveis a adoção destas práticas e corroboram com as ideias de Green (2008). Tanto no que diz respeito a tocar a melodia escolhida pelos próprios alunos, como nas improvisações, vários deles demonstraram bastante desembaraço e independência. Também se observou que, por serem uma forma mais direta e musical de se aprender, as práticas informais permitiram aos alunos lidar com materiais musicais muito mais ricos e complexos do que em um curso tradicional. Por outro lado estas práticas pareceram mais adequadas para os alunos mais velhos, uma vez que estes tendem naturalmente a ter mais voz no grupo e a exercer mais plenamente a sua autonomia, inibindo os mais jovens que talvez tivessem sido beneficiados por mais apoio docente.This work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.
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Furiani, Dominic Michael. "Informal Teaching and Learning Practices in a Traditional Jazz Ensemble| A Case Study." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978203.
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Non-traditional music ensembles have emerged in public school classrooms as part of a larger effort to facilitate informal learning in school music. In this multi-instrumental case study, twenty-two member jazz ensemble composed of 10-12th grade students embarked on an aural learning activity. In this study, I examine the teaching and learning styles that emerged from the participants to gain a better understanding of informal learning practices and how they manifest in a formal learning environment. Data collection included twenty-two student surveys and one semi-structured interview of the participating teacher. In addition, video recordings of instruction, field notes, and in class memos were composed while observing the teacher and students. All data were coded using open and axial processes. The data are divided into two sections—the teacher’s experience which highlights teaching strategies and implementation procedures and the students’ experiences which focused on affective perception, the learning process, social/communal responses, and achievement. Findings indicate that a teacher who is implementing an aural learning activity into a large ensemble setting may adopt a different teaching style in order to create an authentic informal learning experience for the students. When authentically placing informal methods into a formal learning environment, students rely more on self- and peer-teaching, which led to heightened social and communal responses. These findings are linked to this specific aural learning activity, and future research in other settings with different activities may yield alternative results. Additional research which may include sharing of new activities, experiences and teaching strategies may benefit all teachers in blending informal and formal learning practices.
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Lai, Yang. "Learning Copyright in Chinese Fandom: A Study of Informal Learning in Cyberspace." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1605279450637024.
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Flory, Wilson Reese. "From the nightlife to the school day: a survey of informal music learning experiences and perspectives among music educators." Kansas State University, 2014. http://hdl.handle.net/2097/18345.
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Master of MusicDepartment of Music
Phillip D. Payne
The purpose of this study was to determine if music educators who have had experiences with informal music are more likely to employ informal learning within their classroom. Secondary research objectives included a comparison of survey results against specific demographics of the survey participants, an examination of the types of informal learning that the participants experienced and facilitated, and a look at the perceived barriers and benefits of informal music learning from the viewpoints of the participants. Participants (N=25) were practicing music educators pursuing graduate music studies. The participants were enrolled in a summer Master of Music program at a university in the Midwest. Data was collected by employing a pen and paper survey that provided a demographic description and informal music learning questionnaire. The participants were asked to indicate the frequency of participation in informal music activities prior to becoming a music educator. They further reported what informal music learning activities they facilitate within their school music curriculum. Finally, the participants responded to two short answer questions where they identified barriers and benefits they perceive with the implementation of informal music practices within their music programs. Results from a Pearson correlation showed a moderately strong relationship (p = 0.43) between participants who had informal music experiences (E) and who employed informal music learning within their music curriculum (C). There were no significant differences observed in the results between participants of different gender or school division. Of the short answer responses cataloged, participants cited a lack of experience with informal music and difficulty of connecting informal music learning to the formal music curriculum as the barriers to employing informal music learning in the classroom. The participants discussed the increase in student motivation, expanding musicality, and real-world relevance as the benefits of informal music learning. Knowledge gained from this study may be useful to individuals facilitating informal music learning within music education programs at the primary, secondary, or collegiate levels.
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Galleron, Philippe. "Développement d’une communauté de pratique de la composition musicale assistée par ordinateur en milieu scolaire : conception, parcours et modélisation." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080035.
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Cette thèse est l’étude d’une expérience en situation de composition électroacoustique collective sous l’angle du développement d’une communauté de pratique. Elle a été réalisée en France, sur l’année scolaire 2013/2014, dans deux classes de l’école élémentaire publique Pasquier de la ville d’Antony située en région parisienne. Nous parlons donc d’un enseignement collectif de la musique à de jeunes enfants sur le temps scolaire réalisé dans un co-enseignement professeur des écoles et professeur de musique. La « théorie des communautés de pratique » d’Étienne Wenger sera utilisée comme une grille de lecture et un prisme à travers lesquels nous analyserons les interactions des participants au sein d’une expérience de pédagogie musicale de groupe menée en milieu scolaire. Nous étudierons les situations d’apprentissage via les interactions inter et intra-communautaires qui sont pour partie médiatisées par des artefacts informatiques (fichiers audio des pièces musicales, photographies numériques, publications et mises à disposition sur internet, communication par mails, etc.). À ce titre, nous nous sommes intéressés à l’usage et au rôle joué par les technologies de l’informatique et de la communication (TIC) dans les échanges de la communauté ainsi qu’aux théories relatives aux sciences documentaires.Enfin, dans la troisième partie de ce mémoire nous proposons la construction d’un modèle d’action pédagogique privilégiant les interactions que nous considérons comme transposables à l’enseignement universitaire de la composition musicale en environnement Max et Pure Data au département Musique de l’Université Paris 8This dissertation is the study of an experiment in a situation of collective electroacoustic composition from the point of view of the development of a community of practice. It was carried out in France, during the school year 2013/2014, in two classes of public elementary school Pasquier of the city of Antony located in Paris suburbs. We are therefore talking about a collective teaching of music to young children on school time realized in a co-teaching school between a teacher and a music teacher.Étienne Wenger's "theory of community of practice" will be used as a grid of reading and a prism through which we analyze the interactions of participants in an experiment of group music pedagogy conducted in school. We will study learning situations in this situation via inter-community and intra-community interactions, which are partly mediated by computer artifacts (audio files of musical selections, digital photos, publications and Internet availability, e-mail communication, etc.). As such, we have been interested in the use and the role played by information and communication technologies (ICT) in the exchanges of the community and in the theories of documentary sciences.Finally, we propose the construction of a pedagogical action model focusing on the interactions that we consider to be transposable to the university teaching of music composition in the Max and Pure Data environment in the Music Department of Paris 8 University
Books on the topic "Informal musical learning"
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Green, Lucy. Music, informal learning and the school: A new classroom pedagogy. Burlington, VT: Ashgate, 2007.
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Linton, Leslie. Elementary music education, informal learning, and the new sociology of childhood. Lewiston, NY: The Edwin Mellen Press, 2015.
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Smart, Tim, and Lucy Green. Informal learning and musical performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0007.
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If the adage ‘You live and learn’ reflects any truth, then the vast majority of living and learning must take place informally. This can range from unintentional and nonconscious processes such as enculturation, to intentional and conscious self-teaching. While the study of informal learning in music has tended to focus on popular and other vernacular musicians, this chapter adopts a wider approach, considering the perspectives of a range of musicians across several musical contexts, styles and genres. The authors review key sources of knowledge, skills and abilities relevant to these musicians and to their performance, and consider examples of how informal learning practices are valued in underpinning their work. They also examine the characteristics and prevalence of informal learning, how it interfaces with other practices, and how research in the field of informal music learning may serve to promote and champion a richer perspective on the learning of music for the benefit of all learners, intentional or not.
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McPherson, Gary, and Susan Hallam. Musical potential. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0024.
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An ongoing controversy persists regarding the extent of individual variability in musical potential and the extent to which observable differences in acquiring musical skills result from social contexts that facilitate learning, genetic factors, or interactions between the two. This article outlines key elements of these debates and considers how ‘musical potential’ has been assessed. It argues that what children are born withenablesrather thanconstrainswhat they will eventually be able to achieve. While a range of generalized abilities may come into play when learning music, a host of environmental and personal catalysts work in combination with teaching and learning processes to develop particular types of talent. These talents form the basis of the many professional, amateur, and informal forms of meaningful engagement that individuals can have with music.
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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.
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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.
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Welch, Graham, and Adam Ockelford. The role of the institution and teachers in supporting learning. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0029.
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This article discusses how learning and teaching in music are shaped by processes outside the individual, not least because of the influences of group membership (allied to age and gender), performance expectations and practices, and professional and institutional cultures. The process of individual induction into the characteristics of a particular musical culture by teachers and institutions influences the formation of identities in music, for better or for worse, at least in terms of dominant models within the culture. Indeed, the development of music teachers themselves can be seen within an activity system, i.e. the teacher's understanding of their role is developed both by informal personal reflection of the experience of performance and their own learning, and, more systematically, through their own induction process by attendance at a specialist, pedagogically focused institution.
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D'Amore, Abigale, and Gareth Dylan Smith. Aspiring to Music Making as Leisure through the Musical Futures Classroom. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.23.
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The chapter discusses the centrality of music making to the lives of young people, framing teenagers’ out-of-school music making and attendant identity realization as leisure activities. It presents arguments for including in school music classrooms the music that students enjoy outside of school. It describes Musical Futures, an approach to informal music learning developed from understanding how popular musicians learn and adopting these practices for the music classroom. Citing examples of nationwide research on Musical Futures from secondary schools in England, the chapter balances benefits and challenges of adopting the approach, and considers implications of a focus in school on the process rather than the product of music making. The authors argue that framing and aspiring to music making as leisure through this particular pedagogical approach could stand to benefit students, teachers, schools, and society.
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Abrahams, Frank, Anthony Rafaniello, Jason Vodicka, David Westawski, and John Wilson. Going Green. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.4.
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This chapter describes a collaborative project that studied the applications of Lucy Green’s informal music learning curriculum within the context of high school choral ensembles. For a 12-week period, the conductors of four high school choirs charged students in small groups to copy a Christmas carol of their choice from a recording or to create a new arrangement inspired by the recording without intervention from their conductor. They would perform those carols at a public concert during the December holiday season. The overarching research question addressed the efficacy of informal learning as choral pedagogy to nurture the students’ musicianship in choir. Data consisted of interviews, video recordings, and reflective journals. Results showed a positive impact on group cooperation, peer-directed learning, choral rehearsal strategy, leadership, and personal musical identity. It also served as a catalyst to change perceptions of students and teachers relative to musical skill and ability.
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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.
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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.
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Rink, John, Helena Gaunt, and Aaron Williamon, eds. Musicians in the Making. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.001.0001.
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Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book’s three parts focus in turn on ‘Creative learning in context’, ‘Creative processes’ and ‘Creative dialogue and reflection’. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ‘Insights’ by internationally prominent performers, performance teachers and others.
Book chapters on the topic "Informal musical learning"
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Higgins, Lee, and Lee Willingham. "Negotiated Curriculum, Non-Formal and Informal Learning." In Engaging in Community Music, 26–47. New York; London: Routledge, 2017. Includes bibliographical: Routledge, 2017. http://dx.doi.org/10.4324/9781315637952-3.
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Manzo, V. J. "Informal Music Learning Instruments." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0024.
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In 2010, I was involved in a research project called the Interactive Music Technology Curriculum Project (Manzo & Dammers, 2010), or IMTCP; its goal was to teach music composition and performance to students who have no musical training by using soft ware instruments that allow them to play chord functions. In this chapter, we will examine the patches developed for this project. As you will see, even though each patch facilitates a different musical activity, the patches themselves use similar chunks of code neatly organized in bpatchers. These patches allow students to play chords, at first, with the number keys (1–8) from a computer keyboard as they learn about diatonic scale degrees and chord functions. Students in this project were asked to go online and get the YouTube links to their 10 favorite songs. The faculty for this project took those songs and reduced each part of the form (verse, chorus, bridge, etc.) to a set of numerical chord functions within a key. For example, the verse would be referred to as a The project was influenced by the Manhattanville Music Curriculum Project (MMCP; Thomas, 1970) and Lucy Green’s research on Informal Music Learning (Green, 2008). “1 5 6 4” in C Major while the chorus was a “2 4 1 5.” Students would then use a patch to play back the chord functions using the ASCII keyboard. 1. Open the file E001.maxpat from within the folder E001 located in the Chapter 19 Examples folder 2. Press the number keys on your computer keyboard (1–8) to play back the C Major scale. Use the space bar to end the sustain 3. Click the toggles 3 and 5 to add a third and a fifth to the output. Notice that the name of the triad is now displayed on the right We’ve looked at patches similar to this in the EAMIR SDK. Let’s take a look at some of the more interesting and novel features of this patch.
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Gomes, José Duarte Cardoso, Mauro Jorge Guerreiro Figueiredo, Lúcia da Graça Cruz Domingues Amante, and Cristina Maria Cardoso Gomes. "Augmented Reality in Informal Learning Environments." In Advances in Multimedia and Interactive Technologies, 281–305. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7371-5.ch014.
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Augmented reality (AR) allows computer-generated imagery information overlays onto a live real-world environment in real time. Technological advances in mobile computing devices (MCD) such as smartphones and tablets (internet access, built-in cameras and GPS) made a greater number of AR applications available. This chapter presents the Augmented Reality Musical Gallery (ARMG) exhibition, enhanced by AR. ARMG, focused on twentieth century music history, and aimed at the students from the 2nd Cycle of basic education in Portuguese public schools. In this chapter, the authors introduce AR technology and address topics like constructivism, art education, student motivation, and informal learning environments. They conclude by presenting the first two parts of the ongoing research conducted among a sample group of students contemplating the experiment in an educational context.
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Cremata, Radio. "A Model for Online Music Education." In Research Anthology on Developing Effective Online Learning Courses, 193–216. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8047-9.ch012.
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This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.
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Shaw, Brian P. "Concert Preparation." In Music Assessment for Better Ensembles, 140–62. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.003.0007.
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This chapter provides assessment strategies for performance preparation assessment. Even though performing is a central and necessary aspect of ensemble music classes, concerts are not themselves assessment of individual students’ musical learning. The chapter includes a variety of ways to implement assessment in the rehearsal. Both informal assessment during the course of a traditional rehearsal and formal assessment settings off the podium can improve performance results. Self and peer assessment build metacognitive musicians and provide pathways to individualized feedback that teachers may have missed. Infusing assessment into the ensemble rehearsal is an investment of class time that pays noticeable dividends.
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Wright, Ruth. "Informal Learning in General Music Education." In Teaching General Music, 209–38. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199328093.003.0011.
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Bauer, William I. "Assessment for Music Learning." In Music Learning Today, 127–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.003.0006.
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Assessment is an essential aspect of teaching and learning. Not only is assessment necessary to determine whether students have learned what teachers think they have taught, but it also informs the design of instruction and is used to adjust the specific teaching and learning strategies that are used over time. Numerous technological tools are available that enable teachers to be more efficient and effective with this process. This chapter is primarily concerned with the assessment of musical achievement in creative, psychomotor, and cognitive domains. It outlines essential assessment principles, discusses the technology-assisted development of assessments, explores technologies helpful to the process of assessing specific music learning outcomes, and describes new assessment approaches enabled by technology. The management of assessment data and processes via technology is also examined.
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Bauer, William I. "Productivity and Professional Development." In Music Learning Today, 165–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.003.0008.
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There are numerous ways in which technology can improve the productivity of music educators, helping to make administrative and organizational tasks more efficient and effective. This chapter describes a variety of technological tools that can be used to facilitate overall organization, communication, public relations and advocacy, the creation and acquisition of instructional support materials, data management, travel, and maintenance of financial records, all of which are typical responsibilities of music teachers. Technology can also be useful for continuing professional development. From informal Personal Learning Networks to formalized graduate degree programs, technology can empower music educators with personalized, sustained, flexible, and social professional learning opportunities. Taken together, these approaches to professional development can help music educators continually develop and refine their TPACK, facilitating an ongoing upward spiral of the knowledge and skills necessary for music learning today.
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.
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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).
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"Informal Learning in the Music Classroom: A Seven-Stage Program." In Music Education as Critical Theory and Practice, 227–45. Routledge, 2017. http://dx.doi.org/10.4324/9781315090887-13.
Full textConference papers on the topic "Informal musical learning"
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Xambó, Anna, Brigid Drozda, Anna Weisling, Brian Magerko, Marc Huet, Travis Gasque, and Jason Freeman. "Experience and Ownership with a Tangible Computational Music Installation for Informal Learning." In TEI '17: Eleventh International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3024969.3024988.
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Gorlow, Stanislaw, and Sylvain Marchand. "Informed separation of spatial images of stereo music recordings using second-order statistics." In 2013 IEEE International Workshop on Machine Learning for Signal Processing (MLSP). IEEE, 2013. http://dx.doi.org/10.1109/mlsp.2013.6661915.
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Fuentes, Magdalena, Brian McFee, Helene C. Crayencour, Slim Essid, and Juan Pablo Bello. "A Music Structure Informed Downbeat Tracking System Using Skip-chain Conditional Random Fields and Deep Learning." In ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8682870.
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