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Music, Informal Learning and the School:

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Adrian Barnes

on 3 April 2017

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Transcript of Music, Informal Learning and the School:

Music, Informal Learning and the School

A New Classroom Pedagogy

Who is Lucy Green?
First Thoughts
Purpose of Study
How Was the Data Collected?
What Were the Results of the Study?
How will this study and studies alike impact the way music education is taught?
Has This Been Done Before?
Implications For Music Education
• Folklore
Final Thoughts
Questions to Further Research
"Brief Biography"

Dr. Lucy Green is a Professor of Music Education at the Institute of Education at the University of London. Her interests are in music education with relation to: sociology and philosophy of music, musical meaning, musical ideology, social reproduction, gender, informal music learning, popular music, classical music and new pedagogies.
Who Was Involved in the Study?
Involved in this study were 21 secondary schools, 32 classroom teachers and over 1,500 students.
• Zoltáln Kodály
Although his philosophy is not identical to Green's, he shaired similar beliefs that children could learn musical concepts by first experiencing music through listening, singing, and movement.
Consists of legends, music, oral history, proverbs, jokes, popular beliefs, fairy talks, stories, tall tales, and customs included in the traditions of a culture, subculture, or group
• Shin’ichi Suzuki
Suzuki offers the idea that students must first learn to play by ear before learning musical notation. This is also similar to Green’s idea’s about informal music learning.

• The purpose of this study was to investigate if students in a traditional music education setting could develop “critical musicality,” “purposive listening,” "inter-sonic meaning" as well as other advanced music concepts” through informal and aural learning methods.
"His own creativity, intuition, and sensitivity to the musicianship of other people helped him to understand what is too often forgotten in discussion and performances of unwritten music, namely, that a folk music tradition is not the product of some amorphous ethnic collective, and that musical sensitivity is neither acquired by being born a member of a particular group nor limited to appreciating the musical conventions of that grip." -John Blacking
"I firmly believe that music will someday become a 'universal language.' But it will not become so as long as our musical vision is limited to the output of 4 European countries between 1700 and 1900. The first step in the right direction is to view the music of all peoples and periods without prejudice of any kind and to strive to put the world's known and available best music INTO CIRCULATION. only then shall we be justified in calling music a 'universal language' - Percy Aldridge Grainger.
"A Commonsense View of all Music"
• “The book considers how pedagogy in the music classroom could draw upon the world of informal popular music learning practices outside the school, in order to recognize, foster and reward a range of musical skills and knowledge that have not previously been emphasized in music education.”
• Enculturation
"Enculturation or immersion in the music and musical practices of one's environment, is a fundamental factor that is common to all aspects of music learning wheather formal or informal.
Dr. Green collected qualitative data from all the projects schools, however essentially focused on seven classes of 13 and 14-year-olds, using the 'fly-on-the-wall' method in which students discussions were recorded while working together in practice rooms without the guidance of teachers and recorded students responses to questions regarding learned music later in the experiment.
Things to Consider
What can "purposive listening" teach or enhance?
Green maintains, "music always carries some delineated meanings relating to it's social context of production, reception or both"
"Music may arouse strong emotional experinces as it interacts with listener aspects such as physical well-being, memories, and peronality, and with situational aspects such as location, acoustic conditions, and social aspects of an audience. (Gabrielsson, 2001, pp. 443-445) Retrieved from the "Handbook of Music and Emotion"
What does "inter-sonic meanings of music mean?
What does it mean to enhance "critical musicality"
How will future music educators incorporate similar ideas and include national standards?
How could this influence how music curriculum's are designed?
How much autonomy should music educators have to allow for innovative methods to be used in the music classroom?
Should certain groups use its popular music when teaching music education as oppose to western music?
Can aindividualized music education curriculum teach specific music concepts?
What are the advantages of disadvantages of teaching without a traditional form of notation?
This study did not demonstrate immediate or specific results. What it demonstrated was the ability of students, over time, to think, hear, and listen to music "purposively." When students were asked questions about the music they were creating later in the study, their responses had begun to change from earlier in the study.
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