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Books on the topic 'Informal musical learning'
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1
Green, Lucy. Music, informal learning and the school: A new classroom pedagogy. Burlington, VT: Ashgate, 2007.
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2
Linton, Leslie. Elementary music education, informal learning, and the new sociology of childhood. Lewiston, NY: The Edwin Mellen Press, 2015.
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3
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.
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Mesbur, Lisa. Choosing to play: Adolescent girls and informal music learning. 2006.
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12
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.
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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.
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Music Informal Learning And The School A New Classroom Pedagogy. Ashgate Publishing, 2008.
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14
Bauer, William I. Music Learning Today. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.001.0001.
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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.
15
Future prospects for music education : corroborating informal learning pedagogy - 1. edicion. Cambridge scholars publishing, 2012.
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16
Wallace, John. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0001.
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John Wallace traces his life as a musician from his earliest experiences in informal ensemble playing to recent activities such as running a major European conservatoire. Noting that he is a ‘product of an instinctive, informal learning community of closely interacting humans with asymmetric age groupings’, he describes himself as a musician who is still ‘in the making’.
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Hill, Juniper. Becoming Creative. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199365173.001.0001.
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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.
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Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Popular and Folk Music). Ashgate Pub Co, 2008.
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19
Buran, Aylin. Fazıl Say and the Classical Music Stage As Informal Learning Space: Second, Revised Edition. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2012.
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20
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.
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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.
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Bell, Adam Patrick. Mixing the Multitrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.003.0007.
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Employing the metaphor of mixing a multitrack recording, chapter 7 presents a cross-case analysis that irradiates the salient facets of each case study, bringing to the forefront both the consonant and dissonant relationships across cases. From these analyses, a number of important findings are presented. First, the DIY studio as a music-making entity can be conceptualized as functioning in at least two different models: the do-it-alone (DIA) studio and the do-it-with-others (DIWO) studio. Second, existing computer-based compositional and learning models are referenced to demonstrate how these frameworks need to evolve to reflect current music production practices. Lastly, Lucy Green’s criteria of informal learning are used to examine the learning explained and exhibited by the participants profiled in part II, most notably self-teaching.
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Bartleet, Brydie-Leigh, Dawn Bennett, Anne Power, and Naomi Sunderland. Community Service Learning with First Peoples. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.3.
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Community music educators worldwide face the challenge of preparing their students for working in increasingly diverse cultural contexts. These diverse contexts require distinctive approaches to community music-making that are respectful of, and responsive to, the customs and traditions of that cultural setting. The challenge for community music educators then becomes finding pedagogical approaches and strategies that both facilitate these sorts of intercultural learning experiences for their students and that engage with communities in culturally appropriate ways. This chapter unpacks these challenges and possibilities, and explores how the pedagogical strategy of community service learning can facilitate these sorts of dynamic intercultural learning opportunities. Specifically, it focuses on engaging with Australian First Peoples, and draws on eight years of community service learning in this field to inform the insights shared.
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Coffman, Don D. Community Music Practice with Adults. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.10.
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This chapter examines three approaches to teaching and learning that resonate with community music principles and that can help inform the theoretical bases for community music practice, because there are similarities between the facilitating behaviours of community musicians and the teaching behaviours of educators. Specifically, this chapter portrays a continuum of viewpoints about guiding others—pedagogy, andragogy, and heutagogy—and illustrates how aspects of each approach can be applied to community music practice. These approaches range from authoritarian ideas that are teacher-centred and learner-dependent to more autonomous ideas that embrace learner-centred and self-directed learning. The New Horizons Band of Iowa City, Iowa, in the United States, is presented as an illustration.
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Browning, Birch P. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199928200.003.0013.
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This chapter is a retrospective view of some of the key topics from the text. The concept of deliberate practice introduced earlier is extended to deliberate learning. Steps to assure deliberate learning, including setting high goals and making a plan to reach them, focusing on the fundamentals, sharing one’s work for input from colleagues, managing time and staying on task, and developing a firm work ethic, are outlined. Transforming the myth of talent into the habit of hard work is reviewed and encouraged. The reader-student is asked to carefully consider how he or she will build and project the desired identity and roles as a musician and a pedagogue in a suitable community of practice. Probing questions are asked about the reader-student’s growth process and advances in understanding many key concepts and processes that inform the work of becoming a musician-pedagogue.
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Abrahams, Frank, and Paul D. Head, eds. The Oxford Handbook of Choral Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.001.0001.
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This text explores varied perspectives on teaching, learning, and performing choral music. Authors are academic scholars and researchers as well as active choral conductors. Topics include music programming and the selection of repertoire; the exploration of singer and conductor identity; choral traditions in North America, Western Europe, South America, and Africa; and the challenges conductors meet as they work with varied populations of singers. Chapters consider children’s choirs, world music choirs, adult community choirs, gospel choirs, jazz choirs, professional choruses, collegiate glee clubs, and choirs that meet the needs of marginalized singers. Those who contributed chapters discuss a variety of theoretical frameworks including critical pedagogy, constructivism, singer and conductor agency and identity, and the influences of popular media on the choral art. The text is not a “how to” book. While it may be appropriate in various academic courses, the intention is not to explain how to conduct or to organize a choral program. While there is specific information about vocal development and vocal health, it is not a text on voice science. Instead, the editors and contributing authors intend that the collection serve as a resource to inform, provoke, and evoke discourse and dialogue concerning the complexity of pedagogy in the domain of the choral art.