Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it. Drawing on a series of interviews with musicians aged between fifteen and fifty, Lucy Green explores the nature of pop musicians' informal learning practices, attitudes and values, the extent to which these altered over the last forty years, and the experiences of the musicians in formal music education. Through a comparison of the characteristics of informal pop music learning with those of more formal music education, the book offers insights into how we might re-invigorate the musical involvement of the population. Could the creation of a teaching culture that recognizes and rewards aural imitation, improvisation and experimentation, as well as commitment and passion, encourage more people to make music? Since the hardback publication of this book in 2001, the author has explored many of its themes through practical work in school classrooms. Her follow-up book, Music, Informal Learning and the School: A New Classroom Pedagogy (2008) appears in the same Ashgate series.
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.
Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it. Drawing on a series of interviews with musicians aged between fifteen and fifty, Lucy Green explores the nature of pop musicians' informal learning practices, attitudes and values, the extent to which these altered over the last forty years, and the experiences of the musicians in formal music education. Through a comparison of the characteristics of informal pop music learning with those of more formal music education, the book offers insights into how we might re-invigorate the musical involvement of the population.
Increasingly, it is becoming evident that those involved in socio-musical studies must focus their investigative lens on musical practice and articulation of the self, on music and community involvement and on music as a social medium for social relationships. What motivates people to be involved in musical performance, and how do they articulate these needs and drives? What do performers gain from their involvement in musical activities? How do audience members perceive their relationship to the performer, the music and the event? These questions and many more are addressed here with the benefit of detailed empirical work, including case studies of a chamber music festival and a contemporary music summer school. Pitts investigates the value of musical participation for performers and audience members in a range of contexts, using a multi-disciplinary approach to place new empirical data in the framework of existing theory and literature. Themes examined include: the shared musical experience; the social structures of performing societies; how people identify with music; the values implicit in musical preferences; the social responsibilities of the performer; the audience view of concerts and festivals; the social power of music and educational implications and responsibilities. Pitts draws upon literature from musicology, sociology and psychology of music, ethnomusicology, music education and community music to demonstrate the diversity of enquiry about musical behaviours. The conclusions of the book are based upon empirical evidence gleaned through case studies, with the data integrated thematically throughout, to enable a greater depth of discussion than individual studies usually permit.
Taking a cue from Erving Goffman’s classic work, Asylums, Tia DeNora develops a novel interdisciplinary framework for music, health and wellbeing. Adopting a holistic, interactionist focus, Music Asylums reconnects states of wellness and wellbeing to encounters with others and - critically - to opportunities for aesthetic experience. The book presents music as an active ingredient of action, identity, capacity and consciousness. Intended for scholars and practitioners in psychiatry and psychology, palliative care, socio-music studies, music psychology and the allied health professions, Music Asylums showcases music's role in the existential project of being and staying well, mentally and physically.
This book explores the musical interest and needs of children in their daily lives. Based upon their expressed thoughts and actual "musicking" behaviors, this text examines the songs they sing, the rythyms they make, and the roles that music plays for them. Blending standard education field experiences with ethnographic techniques, Dr. Campbell demonstrates how music is personally and socially meaningful to children and what values they place on particular musical styles, songs, and functions. He explores musical behaviors in various contextual settings, and presents in notated and narrative forms some of the "songs in their heads," balancing music learned with music "made," and intentional, purposeful music with natural musical behavior. Songs in Their Heads is a vivid and engaging book that bridges the disciplines of music education, musicology, ethnomusicology, and folklore. Designed as a text or supplemental text in a variety of music education method courses, as well as a reference for music specialists and classroom teachers, this book will also appeal to parents interested in understanding and enhancing music making in their children.
Allan F. Moore presents a study of recorded popular song, from the recordings of the 1920s through to the present day. Analysis and interpretation are treated as separable but interdependent approaches to song. Analytical theory is revisited, covering conventional domains such as harmony, melody and rhythm, but does not privilege these at the expense of domains such as texture, the soundbox, vocal tone, lyrics. Moore continues by developing a range of hermeneutic strategies largely drawn from outside the field (in the most part, within psychology and philosophy) but still deeply relevant to the experience of song.
Each chapter of the practice tests contains 20-25 multiple choice questions and 10-15 true/false questions, all with corresponding rejoinders and page references to the main text, as well as 5 short answer questions with page references.
The flamboyant hero of this zany, wildly comic novel is Isaac Schlossberg--circus performer, entertainer, world traveler. Raucous and inventive, this three-ring circus of a novel is at once silly and grand, absurd yet full of meaning.
In this second installment of "The Anchor Essay Annual series, acclaimed essayist Phillip Lopate has selected and introduced the year's most notable, influential, or surprising essays published during the last twelve months. Including material from periodicals and books, "The Anchor Essay Annual 1998 also features essays that have never before appeared in print and those published only abroad. The result is as cosmopolitan as it is unique. Included in the 1998 Annual are: Lucy Grealy's reasoned path to belief in "My God," David Lazar's fierce reappraisal of a young man's wish to blend into goyische America in "Further Father," Mary Oliver's rumination on connectedness to the world in "Sister Turtle," and Jane Shapiro's magnificent dialogue on the afterlife of the divorced woman in "This Is What You Need for a Happy Life." All of this exciting new work is placed in context by an illuminating, in-depth introduction from Phillip Lopate, himself one of our most acclaimed essayists. With generous selections from over twenty-five writers from around the world, "The Anchor Essay Annual: The Best of 1998 continues to build on Anchor's most exciting new series.
The dramatic stoy of the young girl who was taken from the world of silence to that of communication by her fearless teacher, Annie Sullivan. In her own words, Helen tells the heroic tale of what it was like to go from being deaf, blind and mute to a famous author and lecturer who spent her life working for the handicapped.
The Out of Many Teaching and Learning Classroom Edition tells the story of the distinctly American character, built upon the ideal of local and cultural diversity. Carefully considering the complex social, political, and historical interactions that shape America's history, the narrative unfolds around one promise--to celebrate the differences that will always define America. Still acclaimed for its scholarship, the new edition adds deep discussion, striking photos, and demonstrative features designed to portray the rich cultural and ethnic diversity that characterizes the United States' heritage.
Based on the author s analysis of in-depth interviews and relevant research literature, this booki nvestigates and explores the experiences, problems and pressures faced by black and ethnic minority women managers in the United Kingdom. To date, research addressing the issues of black managers has been almost exclusively American, predominantly black African-Americans, and the overall amount of published research has been limited. Indeed, studies of black and ethnic minority professional women, especially in corporate settings, have been virtually excluded from the growing body of research on women in management. This book has been written to fill this gap.
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