How popular musicians learn

Professor Lucy Green van het Institute of Education van de University of London heeft diverse interessante boeken op haar naam staan. Voor een overzicht van publicaties en projecten, zie: http://www.ioe.ac.uk/staff/ARHS/ARHS_21.html. Hieronder een aantal titels die de afgelopen jaren verschenen zijn. De teksten zijn overgenomen van www.amazon.com.

  • Green, L. (2002) How Popular Musicians Learn: A Way Ahead For Music Education. London and New York: Ashgate Press.

During the last 150 years or so, many societies all over the world have developed complex systems of formal music education based on Western models. Common to most are one or more of the following: educational institutions, from primary schools to conservatories, partly involving or entirely dedicated to the teaching and learning of music; written curricula, syllabuses or explicit teaching traditions; professional teachers, lecturers or “master musicians”; systematic assessment mechanisms such as grade exams, national school exams or university exams; music notation; and a body of literature, including texts on music, pedogical texts, and teaching materials. Alongside or instead of formal music education there are always, in every society, other ways of passing on and acquiring musical skills and knowledge. Within these traditions, young musicians largely teach themselves or “pick up” skills and knowledge by watching and imitating musicians around them and by making reference to recordings or performances and other live events involving their chosen music. This book is based on the outcomes of research from interviews which took place between October 1998 and May 1999 with 14 popular musicians living in and around London, aged from 15 to 50. Informal learning practices and formal educational experiences over the last 40 years of the 20th century were studied. The conditions necessary for informal music learning are discussed, especially in terms of the musical enculturation of children. The characteristics of informal popular music learning and those of formal music education are compared, and the author considers whether the learning practices, attitudes and values of popular musicians, as articulated throughout the book, may or may not reasonably be adapted and included within formal music education in a move to help re-invigorate the musical involvement of the populace at large.

  • Green, L. (2008) Music, Informal Learning and the School: A New Classroom Pedagogy. London and New York: Ashgate Press.

This pioneering book reveals how the music classroom can draw upon the world of popular musicians’ informal learning practices, so as to recognize and foster a range of musical skills and knowledge that have long been overlooked within music education. It investigates how far informal learning practices are possible and desirable in a classroom context; how they can affect young teenagers’ musical skill and knowledge acquisition; and how they can change the ways students listen to, understand and appreciate music as critical listeners, not only in relation to what they already know, but beyond.It examines students’ motivations towards music education, their autonomy as learners, and their capacity to work co-operatively in groups without instructional guidance from teachers. It suggests how we can awaken students’ awareness of their own musicality, particularly those who might not otherwise be reached by music education, putting the potential for musical development and participation into their own hands.Bringing informal learning practices into a school environment is challenging for teachers. It can appear to conflict with their views of professionalism, and may at times seem to run against official educational discourses, pedagogic methods and curricular requirements. But any conflict is more apparent than real, for this book shows how informal learning practices can introduce fresh, constructive ways for music teachers to understand and approach their work. It offers a critical pedagogy for music, not as mere theory, but as an analytical account of practices which have fundamentally influenced the perspectives of the teachers involved.Through its grounded examples and discussions of alternative approaches to classroom work and classroom relations, the book reaches out beyond music to other curriculum subjects, and wider debates about pedagogy and curriculum.

  • Green, L. (2008) Music on Deaf Ears: Musical Meaning, Ideology and Education (revised 2nd edition). Bury St. Edmunds: Abramis Publishing.

“Hooray! Professor Lucy Green’s classic text is now available, in its second edition, to a new generation. The first edition contributed to the development of a new field, the sociology of music education. But the argument is of wider interest, and has been useful to me in better understanding the mechanics of the professional life as applicable to the working player.” Robert Fripp, King Crimson responses to the first edition of Music on deaf ears: “This is a fine book indeed. The clarity of mind shining through the text is apparent, and the concern with music, musical experience and the development of children in our schools is self-evident. . Musicians and educators would do well to reflect upon these ideas and the inherent challenges to our comfortable but essentially problematic ways of thinking about and responding to music.” Keith Swanwick, Music and Letters “The argument, necessarily simplified here, is powerfully and cogently made. It not only impinges on educational practice but is one of the best general discussions of musical meaning and ideology I have read.”Richard Middleton, Popular Music “This analysis has considerable explanatory power, especially in regard to the response of school pupils to various musical styles. . I recommend this interesting and uncomfortable book not just to music teachers but to all those musicians and music lovers who think at all about the nature of their art.” Christopher Small, British Journal of Music Education

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