Children's Ways of Learning Inside and Outside the Classroom

Harwood, Eve; Marsh, Kathryn

doi:10.1093/oxfordhb/9780199730810.013.0020

Cited by 35 publications

(60 citation statements)

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“…Ear-playing has also been said to enhance aural development (Hallam, et al, 2012;Woody & Lehmann, 2010) and enjoyment through musical exploration (Harwood & Marsh, 2012;Priest, 1985). Currently there is a wealth of research in music education that explores the teaching and learning of popular music, including investigations of students responses to ear-playing tasks during the early stages of learning a classical instrument (McPherson, 1997(McPherson, , 2005; strategies employed by ear players to hear and play chord progressions when playing unfamiliar rock songs (Johansson, 2004); learner musicians ear-playing ability as a function of vernacular music experiences (Woody & Lehmann, 2010);…”

Section: Introductionmentioning

confidence: 99%

‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

Varvarigou

2014

Music Education Research

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Section: Introductionmentioning

confidence: 99%

‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

Varvarigou

2014

Music Education Research

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“…Campbell (1991, p. 103) has emphasised that only through listening most intently to themselves can performers improve their own performance. Ear-playing can also enhance aural development (Hallam, 2012;Woody & Lehmann, 2010) and enjoyment through musical exploration (Harwood & Marsh, 2012;Priest, 1985). Johansson (2004) investigated how six rock musicians with extensive experience of playing by ear in bands, responded to the challenge of playing along with three unfamiliar songs.…”

Section: Introductionmentioning

confidence: 99%

Musical ‘learning styles’ and ‘learning strategies’ in the instrumental lesson: The Ear Playing Project (EPP)

Varvarigou

Green

2014

Psychology of Music

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Please cite this publication as follows: Varvarigou, M. and Green, Lucy (2015) Musical 'learning styles' and 'learning strategies' in the instrumental lesson: the Ear Playing Project (EPP). Psychology of Music, 43 (5 Musical learning styles and learning strategies in the instrumental lesson: the Ear Playing Project (EPP) AbstractSeventy-five audio recordings of learners attempting to copy a melody by ear were transcribed and analysed. Thematic analysis through NVivo was carried out and combined with judgements from four independent experts using a criteria grid. Overall, the learners spontaneous responses to the ear-playing task, termed here learning styles , were classified into four main categories, termed impulsive, shot-in-the-dark, practical and theoretical. Learners who showed evidence of possible Absolute Pitch (AP) were categorised cross all the first three learning styles, suggesting that the ability to play back by ear from a recording may not be aided by AP. After the initial spontaneous response, the learners most common learning approaches, termed here learning strategies , included listening without playing, playing isolated notes, asking questions, listening and playing along with the recording, and experimenting. The findings suggest that the practice of playing along to a recording can reveal a range of spontaneous learning styles amongst students, of which teachers may otherwise remain unaware; and a range of further learning strategies that may provide new insights for music teachers.

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“…Among music educators, intentionality can be seen in the call for incorporating informal practices into educative settings (Folkestad, 2006;Gordon, 2013;Green, 2008;Harwood & Marsh, 2012;McPhail, 2013;Wright & Kanellopoulos, 2010). Informal music pedagogy, then, intentionally embeds both music making and characteristics of informal learning into a learning environment.…”

Section: Situating the Studymentioning

confidence: 99%

“…Informal music pedagogy, then, intentionally embeds both music making and characteristics of informal learning into a learning environment. Such characteristics include social aspects of relationship, non-linear and holistic play, interactive and self-directed processes, and immersion into and exploration of music making possibilities (Campbell, 2001;Harwood & Marsh, 2012;McPhail, 2013;Wright & Kanellopoulos, 2010). These same characteristics have been observed as aspects of young children's ways of being musical; the purpose of music is for relationship (Bartel & Cameron, 2007), musical behaviors are holistically woven into play (Campbell, 2010;Lamont, 2008;Young, 2003), ownership roles are taken by the child in directing self and others (Elkind, 2007;Sommer, Samuelsson, & Hundeide, 2010), and immersion in a musical environment with opportunity to explore and respond is important for processes of musical development (Gordon, 2013;Reynolds, 2006).…”

Section: Situating the Studymentioning

confidence: 99%

Informal music education: The nature of a young child’s engagement in an individual piano lesson setting

Kooistra

2015

Research Studies in Music Education

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The purpose of this study was to gain insight into the nature of a young child's engagement in an individual music lesson setting based on principles of informal learning. The informal educational space allowed the child to observe, explore, and interact with a musical environment as a process of enculturation and development (Gordon, 2013;McCloskey, 2012). The setting incorporated the piano, and was considered a readiness experience for later formal piano training. Data collection occurred via video recording, with 24 episodes isolated for close analysis. Richly descriptive narratives of each episode were analyzed by lineby-line transformation regarding the nature of the child's engagement (Van Manen, 1990). The child's engagement in the setting was viewed through lenses of lived space, lived body, lived time, lived other (Van Manen, 1990), and lived musicality (Kooistra, 2013). Results include that the child engaged in the setting by expanding the boundaries of the room, using the full range of the room, using his body in rhythmic response, directing the time, including the parent in the lesson, creating pretend contexts, making music (singing, chanting, moving, playing the piano and other instruments), embedding music in his activities, and believing in his musicianship. Keywordsearly childhood, engagement, informal learning, music learning, piano Aims and objectivesThe purpose of this study was to seek insight into the nature of a 2 year 10-month-old child's engagement in a piano lesson setting based on principles of informal education. While informal education has received attention in recent years regarding the music learning practices of older

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Children's Ways of Learning Inside and Outside the Classroom

Cited by 35 publications

References 0 publications

‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

Musical ‘learning styles’ and ‘learning strategies’ in the instrumental lesson: The Ear Playing Project (EPP)

Informal music education: The nature of a young child’s engagement in an individual piano lesson setting

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