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Journal articles on the topic 'Informal musical learning'
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1
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.
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Feichas, Heloisa. "Bridging the gap: Informal learning practices as a pedagogy of integration." British Journal of Music Education 27, no. 1 (January 26, 2010): 47–58. http://dx.doi.org/10.1017/s0265051709990192.
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This work derives from a doctoral research study which looked at the differences in students' attitudes towards learning music in a Brazilian music higher education institution, while taking into account their different music learning backgrounds. The students' backgrounds (which consist of their set of musical experiences and music-learning processes that had been acquired and developed in their lives before entering the university course) are divided into three types: (i) those who have acquired their skills and knowledge mostly through informal learning experiences, particularly in the world of popular music; (ii) those who have only experienced classical training either within institutions such as music schools, or privately; and (iii) those whose backgrounds consist of both informal learning and classical training. These different backgrounds are termed here formal, informal and mixed. The research also discusses the gap between the way music is conceived and taught within the university and the reality students will have to face outside university. It further suggests that the traditional teaching approaches for music in higher education are possibly inadequate for educating university students from varied music learning backgrounds, especially those with informal music learning backgrounds. After examining some findings of the research, the paper proposes pedagogical strategies in which informal music learning practices might help the integration of students from different backgrounds, encouraging students' diversity and their inclusion in the university music school environment. The suggested strategies exemplify approaches that enable the students to bridge the gap between their own musical practices and those they are expected to learn in their institution. In this case, the students have more autonomy and the teacher becomes a facilitator of the process.
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Väkevä, Lauri. "Garage band or GarageBand®? Remixing musical futures." British Journal of Music Education 27, no. 1 (January 26, 2010): 59–70. http://dx.doi.org/10.1017/s0265051709990209.
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In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.
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Hewitt, Donna. "Constructing Informal Experiences in the Elementary General Music Classroom." Music Educators Journal 104, no. 3 (March 2018): 46–53. http://dx.doi.org/10.1177/0027432117745361.
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Children often spontaneously yet purposefully sing songs or create rhythms outside the formal classroom setting to reflect the ways in which they naturally engage with music. Researchers have studied these informal music learning practices to incorporate these experiences into the classroom to offer lessons that are engaging and better reflective of children’s out-of-school musical worlds. This article offers strategies for teachers to incorporate these practices into an upper elementary general music classroom through combining elements of constructivism and the research of Lucy Green on informal music learning and popular musicians. Informal music learning offers another way of thinking about music learning and providing joyful and meaningful music-making experiences in the classroom.
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Dakon, Jacob M., and Elene Cloete. "The Violet experience: Social interaction through eclectic music learning practices." British Journal of Music Education 35, no. 1 (September 7, 2017): 57–72. http://dx.doi.org/10.1017/s0265051717000122.
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In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic music spaces allow for personal development and nurture self-appreciation. An eclectic ensemble space thus provides a rich alternative to more traditional forms of music ensemble instruction.
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Wright, Ruth, and Panagiotis Kanellopoulos. "Informal music learning, improvisation and teacher education." British Journal of Music Education 27, no. 1 (January 26, 2010): 71–87. http://dx.doi.org/10.1017/s0265051709990210.
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This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming ‘an act of transcendence’ (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy.
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Knudsen, Jan Sverre, Gry Sagmo Aglen, Ingrid Danbolt, and Nina Engesnes. "Musical pathfinders of the kindergarten." Contemporary Issues in Early Childhood 20, no. 2 (February 12, 2018): 163–76. http://dx.doi.org/10.1177/1463949118756369.
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Based on an empirical study in selected Norwegian kindergartens, this article investigates the practice of musically active employees, with or without professional training. The overarching aim is to develop an understanding of early childhood music practitioners that may challenge dominant views of professional identity and provide some new images of what it means to work musically in a kindergarten. Departing from a sociological approach, five different ‘musical pathfinders’ are identified: the disc jockey, the facilitator, the choir leader, the caregiver and the performer. These ‘ideal types’ are discussed in the light of issues concerning cultural diversity, negotiations of professionalism, repertoire selection, the use of music technology, children’s participation, and the relationship between formal and informal learning. The discussion raises critical questions concerning music activity in early childhood institutions, highlighting professionals’ personal cultural experiences, preferences and practices as legitimate points of reference in the development of professional identity.
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Wallerstedt, Cecilia, and Monica Lindgren. "Crossing the boundary from music outside to inside of school: Contemporary pedagogical challenges." British Journal of Music Education 33, no. 2 (April 11, 2016): 191–203. http://dx.doi.org/10.1017/s0265051716000164.
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Music education in formal settings has the last decades been characterised by informal methods borrowed from outside school. In this study we analyse situations in Swedish secondary school where pupils’ experience of music outside school becomes visible in music class. Pedagogical challenges in these situations are identified that concern how to (i) coordinate perspectives on music in classrooms when arenas for learning music is increasing in number, (ii) make space for new musical movements in school, and (iii) consider the situated nature of learning that complicates the transfer from musical experiences outside to inside school.
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Benjamins, Laura. "Learning through praise: How Christian worship band musicians learn." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 417–33. http://dx.doi.org/10.1386/jpme_00004_1.
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Popular music education continues to increase in North American educational settings. While popular music teaching and learning are recognized in a variety of contexts, contemporary Christian church praise bands have not been significantly addressed in music education literature. In addressing this gap, the purpose of this study is to examine the musicking practices occurring in the contemporary worship music (CWM) context and how these lead contemporary Christian musicians to acquire and develop their musical skills. Green’s five principles of informal music learning were found to apply in part, yet other distinctive features were also present in study findings. Themes such as elitism, excellence, hierarchies of musical engagement, and inclusion/exclusion of worshippers and the congregation also arose, providing interesting areas for future research.
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Brook, Julia, Rena Upitis, and Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study." British Journal of Music Education 34, no. 2 (March 28, 2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.
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The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The overarching aim of the teacher's instruction was to support students’ development of musical knowledge and skills that would enhance their learning, and to expand their understanding of musical genres and performance practices.
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Bregman, Micah R., John R. Iversen, David Lichman, Meredith Reinhart, and Aniruddh D. Patel. "A method for testing synchronization to a musical beat in domestic horses (Equus ferus caballus)." Empirical Musicology Review 7, no. 3-4 (June 25, 2013): 144. http://dx.doi.org/10.18061/emr.v7i3-4.3745.
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According to the “vocal learning and rhythmic synchronization hypothesis” (Patel, 2006), only species capable of complex vocal learning, such as humans and parrots, have the capacity to synchronize their movements to a musical beat. While empirical research to date on a few species (e.g., parrots and monkeys) has supported this hypothesis, many species remain to be examined. Domestic horses are particularly important to study, as they are vocal non-learners who are occasionally reported to move in synchrony with a musical beat, based on informal observations. If these reports are substantiated by scientific experiments, this would refute the vocal learning hypothesis and provide a new species for the comparative study of musical rhythm. Here we present a new method for testing whether horses can synchronize their trotting to a musical beat, including an illustration of data analysis based on data collected from one horse.
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Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.
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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include that the primary method participants used to learn songs was listening and learning by ear; ‘reading’ music took multiple forms; music theory and chord functionality were useful and allowed for flexible musicianship; and that a participatory culture was important for learning the songs the musicians chose to learn.
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Ocaña-Fernández, Almudena, and Mª Luisa Reyes-López. "‘My Favorite Song’: understanding a music learning ecology of children from interaction among media, family and school contexts." British Journal of Music Education 36, no. 02 (May 17, 2019): 113–23. http://dx.doi.org/10.1017/s0265051719000081.
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AbstractIn the present case study, we used observation and interviews to investigate the musical experience of a group of children of 3–4 years old. We look into the uniqueness of music in the child’s environment which belongs to the media, family and school contexts. The present study allows us to understand some implications of musical experiences for building social identity and the need to link formal music learning processes with those taking place in non-formal and informal spaces. Through this paper, we provide a vicarious experience that will enable the reader to understand our findings and raise new questions and interpretations.
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Yun Yi, Tan, and Sinthu Thiruvarul. "Understanding the Potential of Music Learning Application as a Tool for Learning and Practicing Musical Skills." International Journal of Creative Multimedia 2, no. 1 (April 30, 2021): 42–56. http://dx.doi.org/10.33093/ijcm.2021.1.3.
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This paper explores the potential of mobile applications that are developed to assist music learners in learning and practicing musical skills. Specifically, it attempts to shed light on the affordances of such mobile applications in elevating guitar skill learning among guitar players. This paper presents case studies of four guitar players who have used a mobile application namely “Yousician” to facilitate their guitar learning and practicing process. Findings of this study are drawn upon an investigation into their uses of the mobile application over a practicing period of one week. The study will also provide insights on the characteristics of such application from the music learners’ perspectives. It is also anticipated that findings from this study could contribute towards the understanding of the characteristics of mobile-based music applications that could potentially assist music learners in informal learning environments.
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Do Couto, Ana Carolina Nunes. "Resenha de Music, informal learning and the school: a new classroom pedagogy, de Lucy Green." OPUS 26, no. 1 (June 17, 2020): 1. http://dx.doi.org/10.20504/opus2020a2613.
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Destacando uma década do lançamento do livro, a resenha traz a descrição dos procedimentos metodológicos utilizados na pesquisa de Green (2008). A partir de análise do seu livro, são descritos a problematização, a metodologia empregada, bem como os resultados obtidos. Acredito que tal descrição pode servir como ilustração e, assim, auxiliar estudantes de música em seu aprendizado referente à estruturação de projetos de pesquisa na área de Música e educação musical.
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Rescsanszky, Matthew J. "Mixing Formal and Informal Pedagogies in a Middle School Guitar Classroom." Music Educators Journal 103, no. 4 (June 2017): 25–33. http://dx.doi.org/10.1177/0027432117697360.
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Many music educators feel unprepared or are unsure of how to use popular music in their classrooms. This article details the author’s experience designing, implementing, and revising a student-centered guitar curriculum in an urban middle school. Reflecting on this experience, the author defends the place of popular music and informal pedagogy in the classroom, highlighting the opportunities they provide for authentic and meaningful musical learning for all students while retaining more traditional approaches that music educators continue to find effective modes of instruction.
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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.
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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.
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Lonie, Douglas, and Luke Dickens. "Becoming musicians: situating young people’s experiences of musical learning between formal, informal and non-formal spheres." cultural geographies 23, no. 1 (May 27, 2015): 87–101. http://dx.doi.org/10.1177/1474474015587477.
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Musgrove, Kristine Anita. "Practical approaches to including popular music in the secondary ensemble." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 487–96. http://dx.doi.org/10.1386/jpme_00008_1.
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This article offers guidelines to secondary music ensemble directors who are interested in incorporating informal approaches common to popular music making within their ensemble. The approaches provided utilize listening, improvisation, arranging, composition and collaboration in order to incorporate popular music learning. The examples discussed are specific strategies and methods which can be used by secondary music ensemble directors as entry points into popular music making activities. Strategies and methods presented place focus on approaching popular music making from the students’ musical interest and experiences promoting student-led learning.
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Sandrina, Milhano. "Fostering Meaningful and Creative Connections in Higher Education: Contributions from Music Education." European Scientific Journal, ESJ 17, no. 26 (August 8, 2021): 27. http://dx.doi.org/10.19044/esj.2021.v17n26p27.
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This paper focuses on contributing to the reflection on the importance of providing opportunities to foster meaningful and creative connections in higher education. In a context of growing plurality, heterogeneity and diversity of backgrounds, languages, cultures, identities, roles, and purpose influences the sociocultural relations and professional interactions that occur and are formed within higher education communities of knowledge and learning, which are explored from the perspective of music education. A narrative approach on participant’s views about their participation in an elective music program was developed inside the framework of informal education. Issues that were discussed the most across the datasets by participants individual accounts are expressed through themes that fall into three broad areas: previous musical experiences, significant influences for music participation, and perceptions of the participation in the music program. Results suggest that the informal music program provided participants with a context for a safe emotional, social, cultural, and musical experience, and thus heterogeneity and diversity are seen as enriching factors. Some considerations are made on the ways through which music can help to foster connections and sense of humanity in higher education. This provides some insights into the relevance of fostering musical participation as part of the cultural responsibility of higher education institutions for participants.
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Einarsdottir, Sigrun Lilja. "‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir." British Journal of Music Education 31, no. 3 (August 14, 2014): 281–96. http://dx.doi.org/10.1017/s0265051714000242.
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The purpose of this paper is to demonstrate how amateur choral singers experience collective group support as a method of learning ‘art music’ choral work. Findings are derived from a grounded-theory based, socio-musical case study of an amateur ‘art music’ Bach Choir, in the process of rehearsing and performing the Mass in B Minor by J.S. Bach. Data collection consisted of participant observation, qualitative interviews and a paper-based survey. Findings indicate that in the process of learning a challenging choral work, participants use peer-learning as support and form supportive groups within each voice part, with ‘informal leaders’ supporting others (‘followers’) who are performing the work for the first time. On the other hand, performing a challenging work can also seem ‘intimidating’ for those less experienced singers. Findings also indicate that whereas followers (and the conductor) benefit from this group support, ‘leaders’ may experience a certain lack of musical challenge.
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Mercado, Emily M. "Popular, Informal, and Vernacular Music Classrooms: A Review of the Literature." Update: Applications of Research in Music Education 37, no. 2 (July 21, 2018): 30–37. http://dx.doi.org/10.1177/8755123318784634.
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The purpose of this literature review is to examine research in popular, informal, nontraditional, out-of-school, and vernacular music education from 2012 to the present in order to concentrate on recent literature and make suggestions to inform current practice. Researchers have indicated that these classrooms can provide creative and collaborative opportunities and can help students connect with out-of-school music experiences. In addition, these classrooms seem to align with culturally relevant and student-centered pedagogies and an inclusive curriculum. In contrast, researchers have discussed a perceived dissonance concerning the validity and use of vernacular music in the classroom (i.e., the musical genres considered acceptable in the classroom and how they support or hinder the learning outcomes).
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Kirliauskienė, Rasa, and Lijana Stakauskaitė. "Stimulation of Students’ Leadership Abilities Through Musical Project Activity." Pedagogika 123, no. 3 (September 2, 2016): 148–58. http://dx.doi.org/10.15823/p.2016.39.
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For a long time leadership has been considered as the key factor significantly influencing the success of the organization; however, its role in the school learning has been especially emphasized recently. Abilities and roles of leaders of education system, i.e. teachers, mentors, are analysed in the most of sources of literature; however, there are few discussions about education of leadership of students. The current musical educational project, as an instrument of musical educational technology encouraging the skills of students’ leadership, was chosen due to the lack of sufficient research showing the skills of students’ leadership.
The objective of the research: the encouragement of the skills of students’ leadership using the musical project-based activity during the informal education process.
The aim of the research: to reveal the encouragement possibilities of students’ leadership skills while executing the educational musical project.
The objectives of the research:
1. To find out the features of educational project as an instrument of musical educational technology and to implement the educational project.
2. Following the material of the research, to find out the efficiency of educational project, as encouragement of the skills of students’ leadership.
The methods of the research: the analysis of scientific literature and documents, project of education, survey data analysis. The background of the research and the methodology. The musical project was developed in order to reveal the encouragement possibilities of students’ leadership skills and to identify the features of educational project as an instrument of musical educational technology. The pop music project “Rudeninė karuselė” is one of forms of education of self-expression, creativity, communication and cooperation of children and young people. It aims for education of children and young people in the creative arts, for the nurturance of the traditions of singing, for the popularisation of artistic expression of singers, for the selection of best soloists and vocal ensembles, and for the promotion of creation and performance of new Lithuanian songs for children. Conclusions. The results of the research revealed that participation in informal musical education is caused by good feeling, manifestation of oneself to the public, the demand for education. Musical project-based activity is an effective instrument for encouraging of students’ leadership skills during informal musical education process. It was found out during the research that the participation in musical projects promotes the leadership skills such as responsibility, striving for win, self confidence, perseverance, cooperation, enthusiasm.
The leadership, planning and other educational leadership skill can be developed during the participation in musical projects. While discussing the environment of participants in order to enhance the leadership, mentors urge to take the leader’s role and responsibility; they appreciate efforts of children striving for leadership; the leadership is being promoted while organizing the fun activity, as well. The research showed that the need of attention, the achievement of goal, perseverance and communication are being promoted during the participation in musical events.
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Vasil, Martina. "Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education." International Journal of Music Education 37, no. 2 (February 19, 2019): 298–310. http://dx.doi.org/10.1177/0255761419827367.
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The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into their secondary school music programs in the United States. A primary goal was to understand music teachers’ process of enacting change. Data included 16 semi-structured interviews, eight school site visits and observations, documents, and a researcher journal. Findings revealed that teachers enacted change within micro-contexts—their classrooms. Teachers had an internal locus for change; they developed rationales for change and initiated curricular changes in response to a lack of student engagement, which seemed to stem from students feeling insecure in their musical abilities and disconnected from the content and pedagogy used in music classes. For the teachers in this study, the solution was integrating popular music and informal music learning practices. Thematic analysis revealed eight characteristics of effective teacher-initiated change in secondary music education: (1) holistic and gradual change processes, (2) teacher reflection and inquiry, (3) teacher autonomy, (4) enabling institutional factors, (5) use of a variety of supportive networks, (6) student-centered pedagogy, (7) teacher-selected professional development, and (8) a balance of structure and chaos and formal and informal learning.
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Stowell, Dan, and Simon Dixon. "Integration of informal music technologies in secondary school music lessons." British Journal of Music Education 31, no. 1 (August 28, 2013): 19–39. http://dx.doi.org/10.1017/s026505171300020x.
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Technologies such as YouTube, mobile phones and MP3 players are increasingly integrated into secondary school music in the UK. At the same time, the gap between formal and informal music learning is being bridged by the incorporation of students’ preferred music into class activities. We conducted an ethnographic study in two secondary schools in London, investigating the roles of technology in the negotiation of musical concepts in music classes. From this, we report some observations on the relation between formal/informal and authorised/unauthorised activities in class, and some specific observations on the role of YouTube, mobile phones and MP3 players in the class context. In the lessons we observed, these technologies functioned as part of a richly multimodal ecosystem of technologies, combining aspects of formal and informal use. This carries implications for how we plan for the use of technology in the delivery of music education.
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Durán, Lucy. "Ngaraya: Women and musical mastery in Mali." Bulletin of the School of Oriental and African Studies 70, no. 3 (October 2007): 569–602. http://dx.doi.org/10.1017/s0041977x07000845.
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AbstractThis article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli (pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have – somewhat controversially, as explored here – been the “stars” on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters (ngaraw). Many women jeli singers (jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase “the true ngaraw are all at home”.
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West, Chad, and Radio Cremata. "Bringing the Outside In." Journal of Research in Music Education 64, no. 1 (March 17, 2016): 71–87. http://dx.doi.org/10.1177/0022429416637596.
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Through the lens of hospitality, we explored the meanings that members constructed about their experiences within a blended formal/informal college music ensemble. The focus in this ensemble was not on competition and musical excellence but on independent musicianship and praxis. The bandleader had his roots in tradition but his heart in socially relevant pedagogy and favored a less autocratic teaching and learning style. The makeup of the ensemble also included students from both formal and informal backgrounds. Conducting gesture was casual, bandstand formation was loose and free, outfits were expressive of the individual, and tone and balance were more a reflection and celebration of individuals and less of a whole or single sound. Much of the music was performed from standard notation but was chosen collectively, often related to popular contexts, and the overall emphasis was not on uniformity but on individuality and student creativity. Musical decisions often were made democratically, and opinions from within the ensemble were affirmed in the process. The ensemble consisted of a group of approximately 13 members whose experience ranged from beginner to over 30 years and who played everything from violin to iPad. Themes that emerged were inclusivity, autonomy, and affirmation.
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Partti, Heidi, and Heidi Westerlund. "Envisioning collaborative composing in music education: learning and negotiation of meaning in operabyyou.com." British Journal of Music Education 30, no. 2 (June 27, 2013): 207–22. http://dx.doi.org/10.1017/s0265051713000119.
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This qualitative instrumental case study examines collaborative composing in the operabyyou.com online music community from the perspective of learning by utilising the concept of a ‘community of practice’ as a heuristic frame. The article suggests that although informal music practices offer important opportunities for people with varied backgrounds to participate in the production of art works, and may thus represent and illustrate important aspects of the community life of the society, they do not necessarily provide ideal models for the music classroom. Based on the analysis of the operabyyou.com community, we discuss conditions for collaborative composing when aiming to design educational settings that support the students' construction of identity and ownership of musical meaning.
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Georgii-Hemming, Eva, and Maria Westvall. "Music education – a personal matter? Examining the current discourses of music education in Sweden." British Journal of Music Education 27, no. 1 (January 26, 2010): 21–33. http://dx.doi.org/10.1017/s0265051709990179.
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The embedding of informal practices in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last 10 years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from ‘School Music’ to ‘Music in School’. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur – both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools, and what is sometimes called informal learning, is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education in Sweden has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the potential to be of interest to international music education research.
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Moral-Bofill, Laura, Andrés López de la Llave, and María Carmen Pérez-Llantada. "Relationships between High Ability (Gifted) and Flow in Music Performers: Pilot Study Results." Sustainability 12, no. 10 (May 24, 2020): 4289. http://dx.doi.org/10.3390/su12104289.
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Flow state is a positive mental state during which people are highly motivated and absorbed in their activity. This construct has been linked to the creative personality. Creative people differ from each other, but what they share is that they love what they do due to the pure pleasure they derive from their activity. We studied the possible relationship between people with high ability (HA) who dedicate themselves to music (students or professionals) and the flow state that occurs while they are engaged in musical activities (concert or informal event). The “Flow State for Musical Performers” (Estado de Fluidez para Intérpretes Musicales—EFIM) was used in this study. The scores of musicians with HA were compared with those of musicians who are not identified as HA. The study used a sample of 101 Spanish people (HA 28.7%, general population 71.3%). No significant statistical differences were identified in any of the EFIM subscales, except regarding the Loss of Self-Consciousness. This suggests a relationship between HA and the experience of flow, particularly with regard to loss of self-consciousness, but also with characteristics of the creative personality (capacity for enjoyment, attention and learning). Limitations of the study and future lines of research are presented.
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Ritchie, Laura. "Opening the Curriculum through Open Educational Practices: International experience." Open Praxis 10, no. 2 (April 20, 2018): 201. http://dx.doi.org/10.5944/openpraxis.10.2.821.
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A successful international learning initiative focusing on student agency began with a link facilitating OE-enhanced teaching between a UK university and a US high school class. It became an international trip organised and funded by five UK students and their teacher who travelled to California, teaching and performing music across formal and informal learning settings. The project is now a credit-bearing class, retaining the original initiative’s openness within the university curriculum where final-year students collaborate with the teacher, self-organising to design and plan curricular details from travel logistics to musical interactions. Students engage in heutagogy, demonstrating the highest levels of autonomous, personal learning in this co-learning environment. Their assessment, a reflective journal, encourages engage with deeper learning processes. The original trip was documented as an eBook including 10,000 student-authored words telling their collaborative learning journey. The book was published without DRM an accessible model for other students and educators.
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BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 28, no. 2 (June 6, 2011): 115–16. http://dx.doi.org/10.1017/s0265051711000027.
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In this issue, we witness different ways in which to illuminate the complexities of music teachers and music teaching processes and the conditions through which students learn and teachers embody different and contested images of professional ideals, ideologies and practices. In studies drawn from as far afield as New Zealand, Australia, Republic of Ireland and the UK, authors locate current debates about practice and offer careful analysis, insights and compelling ideas for change that range from teacher professionalism and accountability to community engagement and government policy. There are a range of theoretical frameworks incorporated (including cognitive psychology, constructivism, interpretative phenomenology, and sociocultural theories of situated learning, zone of proximal learning, and concept formation) and the authors' work relates to a range of contested areas. The articles move between teacher thinking and classroom practice to key factors in students’ learning and achievement and music learning in the ‘third age’. All are concerned with the ways in which beliefs, values and identities, structural and curriculum reforms, informal and formal learning sites, and pre-service and continuing professional development, shape and affirm the importance in building understandings of students and teachers' musical lives and how particular practices get embodied in particular contexts. The sites of practice include secondary school music, conservatoire research, university programmes, music communities and local government sectors. The articles draw on diverse data generated via in-depth interview methods, questionnaires, document analysis, observation and accounts of musical experiences.
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Martin-Gutierrez, Jorge, Marta Sylvia Del Rio Guerra, Vicente Lopez-Chao, René Hale Soto Gastelum, and Jose Fernando Valenzuela Bojórquez. "Augmented Reality to Facilitate Learning of the Acoustic Guitar." Applied Sciences 10, no. 7 (April 2, 2020): 2425. http://dx.doi.org/10.3390/app10072425.
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Many people wishing to learn a musical instrument opt to learn using alternative or informal methods instead of the traditional Master–Apprentice model that requires a greater cognitive load. This paper presents an augmented reality (AR)-based application designed to teach and train guitar chords, with the novelty that it is also used to teach short melodies consisting of four chord transitions so that users have to change hand and finger positions. The app uses high-quality 3D models of an acoustic guitar and animated hand to indicate correct finger positions and the movements required when changing from one chord to another. To follow the animated instructions, the learner overlaps the 3D model onto the neck of the physical guitar and his or her own hand. A system usability scale (SUS) questionnaire was used to measure the usability of the application. A score of 82.0 was obtained, which is higher than the average of 68 points that indicates the application is good from a user experience perspective, thus satisfying the purpose for which it was created. Having analysed the data for both groups—individuals with no prior experience of playing a musical instrument versus individuals with prior experience—it was concluded that the application provided a useful learning approach for all participants involved in the study, regardless of experience. That said, those possessing prior experience of playing an instrument learnt faster. It should be noted that the research revealed significant difference in learning by gender, with male participants learning faster than female participants. Similar results have been detected in other research performed in the field of music, as well as in other fields. As this study required spatial reasoning when viewing the 3D model, the differences identified this case may well have arisen as a consequence of differences in men and women’s spatial awareness, thereby leaving open an alternative line of research.
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Faulkner, Simon, Lisa Wood, Penny Ivery, and Robert Donovan. "It Is Not Just Music and Rhythm . . . Evaluation of a Drumming-Based Intervention to Improve the Social Wellbeing of Alienated Youth." Children Australia 37, no. 1 (March 2012): 31–39. http://dx.doi.org/10.1017/cha.2012.5.
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The Discovering Relationship Using Music, Beliefs, Emotions, Attitudes & Thoughts (DRUMBEAT) program used drumming as a way of engaging at risk youth in a form of musical expression, while simultaneously incorporating themes and discussions relating to healthy relationships with others. The program targeted young people who are alienated from the school system. An evaluation was undertaken with a sample of 60 program participants in Western Australia's Wheatbelt region. The evaluation used both quantitative and qualitative methods, including informal discussions with staff and participants, observation, participant and teacher questionnaires, and school attendance and behavioural incident records. Pre- and postintervention data were collected on self-esteem, school attendance, antisocial behaviour, and levels of cooperation and collaboration. Students participating in DRUMBEAT increased their scores over a range of social indicators that act to increase connection with the school community. The results support the underlying program theory, that combining the therapeutic potential of musical expression with basic cognitive–behavioural therapy can be used successfully to deliver a range of social learning outcomes, including emotional control, improved relationships and increased self-esteem. Further longitudinal studies are required to assess the sustainability of the measured outcomes and their vulnerability to external factors.
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Andrews, Kathryn. "Standing ‘on our own two feet’: A comparison of teacher-directed and group learning in an extra-curricular instrumental group." British Journal of Music Education 30, no. 1 (November 29, 2012): 125–48. http://dx.doi.org/10.1017/s0265051712000460.
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This practitioner-based research, undertaken by the author in her own teaching context with herself as participant, explores how autonomous learning skills and motivation can be fostered in primary-aged instrumentalists. A primary school extra-curricular recorder group was observed participating in two stages of lessons: the first, teacher-directed and the second, focused around group learning. Lessons were videoed and transcribed for analysis and pupils’ views on the two styles of lessons gained through interviews. The teacher-directed lessons were considered in the light of the apprenticeship conception of the teacher's role, with its potential to balance direction and facilitation, and scaffolding was observed to be used in various ways, both promoting and restricting pupil autonomy. The group learning lessons used aspects of the Musical Futures1 informal learning approach, particularly self-directed learning in friendship groups, using aural models on CD, with the teacher's role facilitative rather than directive. These lessons were considered in the light of theories of group learning, with pupils observed providing mutual support, scaffolding in different ways to a teacher, and engaging in transactive communication. Pupils, though positive about both stages, valued the opportunity to learn independently in the group learning lessons, gaining a sense of flow through the challenge involved. Findings suggest that whilst both teacher-directed and group learning can be effective, music teachers could develop their pupils’ capacity for autonomous learning by taking opportunities to adopt a more facilitative role, providing the learning context and assistance when required, but allowing the pupils to direct their own learning.
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Salleh, Marzelan, and Camellia Siti Maya Mohamed Razali. "Creative music making through composition workshop for higher education educators: An experiential learning." Journal Of Research, Policy & Practice of Teachers & Teacher Education 10, no. 2 (November 18, 2020): 32–48. http://dx.doi.org/10.37134/jrpptte.vol10.2.3.2020.
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This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Salvito (drums and percussion). The music composition workshop which ran for two consecutive days was presented in an informal group context introducing contemporary music. Participants and observers of the workshop included Malaysian music students of higher education institutions and professional composers. Participating composers composed original music pieces and worked together and were directly involved with Passepartout Duo in the creative processes required in creating their own music composition and the culmination of the workshop was a concert featuring music compositions from participating composers performed by the duo. Students attending the workshop were found to better grasp musical concepts, be more creative, and have a peek into the career as a composer. Implementing workshops into the music course also maximised learning for students and ensured the efficient development of the course.
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Hahn, Laura E., Maaike ten Buuren, Tineke M. Snijders, and Paula Fikkert. "Learning words in a second language while cycling and listening to children’s songs: The Noplica Energy Center." International Journal of Music in Early Childhood 15, no. 1 (July 1, 2020): 95–108. http://dx.doi.org/10.1386/ijmec_00014_1.
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Children’s songs are a great source for linguistic learning. Here we explore whether children can acquire novel words in a second language by playing a game featuring children’s songs in a playhouse. The playhouse is designed by the Noplica foundation (<uri xlink:href="https://www.noplica.nl">www.noplica.nl</uri>) to advance language learning through unsupervised play. We present data from three experiments that serve to scientifically prove the functionality of one game of the playhouse: the Energy Center. For this game, children move three hand-bikes mounted on a panel within the playhouse. Once the children cycle, a song starts playing that is accompanied by musical instruments. In our experiments, children executed a picture selection task to evaluate whether they acquired new vocabulary from the songs presented during cycling. Two of our experiments were run in the field, one at a Dutch and one at an Indian preschool. The third experiment features data from a more controlled laboratory setting. Our results partly confirm that the Energy Center is a successful means to support vocabulary acquisition in a second language. More research with larger sample sizes and longer access to the Energy Center is needed to evaluate the overall functionality of the game. Based on informal observations at our test sites, however, we are certain that children do pick up linguistic content from the songs during play, as many of the children repeat words and phrases from the songs they heard. We will pick up upon these promising observations in future studies.
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Batt-Rawden, Kari, and Tia Denora. "Music and informal learning in everyday life." Music Education Research 7, no. 3 (November 2005): 289–304. http://dx.doi.org/10.1080/14613800500324507.
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Kastner, Julie Derges. "Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning." Research Studies in Music Education 42, no. 1 (July 23, 2018): 3–18. http://dx.doi.org/10.1177/1321103x18774374.
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The purpose of this narrative case study was to describe the developing teacher identity of Nicole Downing, a first-year teacher in the US, in her use of both formal and informal learning processes. As music education continues embracing approaches like informal music learning, it should also reflect on the voices of teachers in the field. Data collection included interviews, observations, and participant writings. Findings revealed that Nicole (a) questioned and eventually accepted her music teacher identity, (b) exhibited a dualism between her use of formal and informal music learning processes, and (c) broadened her community’s definition of school music. Nicole used the metaphor of a bruise to describe how she believed some in her undergraduate studies would judge her interest in popular music and creative musicianship, but as she became a music teacher she had agency to incorporate the informal learning she valued. Nicole exhibited a duality in her use of formal and informal learning processes, which were not integrated in her teaching. Ultimately, she developed a broadened definition of school music that she believed was beneficial for students but perceived negatively by other music teachers. Music teacher education should support teachers’ diverse identities and continue to explore the teaching strategies used in facilitating informal music learning experiences.
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Finney, John, and Chris Philpott. "Informal learning and meta-pedagogy in initial teacher education in England." British Journal of Music Education 27, no. 1 (January 26, 2010): 7–19. http://dx.doi.org/10.1017/s0265051709990167.
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How do student teachers learn to use informal learning and pedagogy in their teaching? Through focusing on Initial Teacher Education (ITE) in England, this paper will explore the possibility of developing a meta-pedagogy which embraces informal learning and pedagogy in music. The paper is in two parts, the first of which examines the background to Informal Learning and Pedagogy (ILP) in English music education and some attendant issues surrounding initial teacher education. The second will report on some approaches to developing a meta-pedagogy for ILP in music, before speculating on future areas for research in music ITE. The concepts of ‘living’ and ‘excavating’ learning will be proposed as important meta-pedagogical tools in the process of student teachers learning how to teach music.
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Sara K. Jones. "An Exploration of Band Students' Experiences With Informal Learning." Bulletin of the Council for Research in Music Education, no. 206 (2015): 61. http://dx.doi.org/10.5406/bulcouresmusedu.206.0061.
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