A Study of Apprenticeship Learning in Music

Mediated Orality: The Role of Popular Music in the Changing Tradition of Children's Musical Play

“…Another integral feature of the teaching and learning of games in the playground is that of kinesthetic modelling, whereby children watch and imitate the movements of more expert performers (Harwood, 1992(Harwood, , 1993(Harwood, , 1998Marsh, 1999;Riddell, 1990). The visual aspect of videoclips allows children to respond in a similar way to popular music performance in the home environment.…”

“…In particular, Campbell (1998aCampbell ( , 1998b has drawn attention to the wide-ranging nature of the musical environment which children inhabit and to the multiple musical cultures with which they identify. In focussing on one of these musical cultures, that of the playground, a number of researchers have discussed the nature of the musical interactions which take place in this context and the musical influences which affect these processes (Addo, 1995;Harwood, 1992Harwood, , 1993Harwood, , 1994Harwood, , 1998Marsh, 1995Marsh, , 1997Marsh, , 1999Merrill-Mirsky, 1988;Riddell, 1990). In this article, I examine the ways in which popular music intersects with children's musical play in the playground, the forms of appropriation which result and the educational implications of this intersection.…”

Content and Context in Children's Playground Songs

“…Based on repeated observations of AfricanAmerican girls' hand clapping in an after-school club, Harwood (1992Harwood ( , 1993 identified several principles as characteristic of oral tradition in this context. First, responsibility for learning was taken by the learners.…”

Engagement, Participation, and Situated Learning in a Children’s Opera Chorus Program

“…Notable world leaders in the field of children’s opera performance training are the New York Metropolitan Opera Children’s Chorus (Metropolitan Opera, 2013) and the autonomous Canadian Children’s Opera Company (CCOC; 2013). Both institutions use an apprenticeship model (Burwell, 2012; Griffiths & Woolf, 2009; Harwood, 1993; Jorgensen, 1997; Nielsen, 2006) in the training of children as opera performers, giving intensive class instruction in musicianship for about a year before providing opportunities for choral and solo roles in main-stage opera productions; the Metropolitan Opera Children’s Chorus in particular provides free class tuition, and there is intense, auditioned competition for places.…”