What impact does teaching music informally in the classroom have on teachers, and their pedagogy?

Hallam, Susan; Creech, Andrea; McQueen, Hilary

doi:10.1080/14613808.2015.1122749

Cited by 17 publications

(11 citation statements)

References 12 publications

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“…As Champion Schools for Musical Futures all of the schools were highly committed to the Musical Futures approach. This is likely to have influenced their responses to the questionnaires and their interview contributions positively, although teachers and students demonstrated that they could be critical of the approach where they felt this was relevant (see Hallam et al, 2016a;forthcoming). The school had been implementing the Musical Futures approach for three years prior to the research.…”

Section: The Samplementioning

confidence: 99%

Can the adoption of informal approaches to learning music in school music lessons promote musical progression?

Hallam¹,

Creech

McQueen³

2017

Brit. J. Music. Ed.

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The aim of this research was to explore the impact of the adoption of the Musical Futures approach on the musical progression of students in Musical Futures’ Champion schools. The research took place over three years in three phases with 733 students and 28 music teachers completing questionnaires. Data from the interviews with 39 staff and focus groups of 325 students provided greater insights into the questionnaire responses. Overall, teachers reported that Musical Futures had enhanced the musical progression of their students and increased take up at Key Stage 4. In some cases this had led to changes in the qualifications on offer with an emphasis on those which were vocational rather than academic. This created some tensions in catering for the needs of different groups of students who had a range of different musical skills.

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Section: The Samplementioning

confidence: 99%

Can the adoption of informal approaches to learning music in school music lessons promote musical progression?

Hallam¹,

Creech

McQueen³

2017

Brit. J. Music. Ed.

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“…Esta realidad es coherente con la incorporación de estas prácticas en los programas de formación de profesorado en los países escandinavos (Humpfreys, 2004). Marín-Liébana, P., Blasco Magraner, J. S. y Pero es Suecia donde dichas prácticas están más asentadas, ya que desde la década de 1960 la legislación educativa reconoció la necesidad de incorporar al currículum oficial las necesidades e intereses de los estudiantes, convirtiéndose a partir de la década siguiente el repertorio de MPU y sus sistemas de aprendizaje informal un lugar común en las aulas escolares (Hallam, Creech y McQueen, 2017b). De esta manera, los estudiantes suelen elegir qué quieren tocar y con quién quieren hacerlo, formando pequeñas bandas de pop y rock basadas en oír, probar y tocar; los docentes se centran en desarrollar destrezas prácticas a partir de los intereses y necesidades de aquellos; y la política educativa es suficientemente amplia como para que ambas partes puedan construir el currículum de forma negociada (Georgii-Hemming y Westvall, 2010).…”

Section: Incorporación De Las Identidades/preferencias Musicales De Lunclassified

Las preferencias musicales de los estudiantes: hacia un reconocimiento de sus identidades culturales

Marín-Liébana

Magraner

Nicolás

2021

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Diversas tradiciones de educación musical crítica sostienen la necesidad de reconocer las identidades de los estudiantes mediante la incorporación curricular de sus preferencias musicales, las cuales pertenecen principalmente a la música popular urbana. Sin embargo, esta todavía no es utilizada de manera generalizada en los diferentes sistemas educativos y es comúnmente rechazada por los docentes, quienes la consideran estéticamente inferior. No obstante, un conocimiento en profundidad de la construcción e implicaciones psicosociales de dichas preferencias podría contribuir a aumentar su inclusión en el ámbito educativo. En este sentido, este artículo realiza una revisión bibliográfica de 105 trabajos sobre las principales teorías, modelos y estudios evolutivos que las explican, la relación entre preferencias e identidades musicales, el concepto de música popular urbana como objeto de estudio de la musicología y las iniciativas que ya la han incorporado dentro del aula. Como se verá, las preferencias musicales de los estudiantes no son meras modas pasajeras sino complejos constructos que les ayudan a construir su identidad personal y a establecer relaciones sociales positivas. Algunas iniciativas como Modern Band o Little Kids Rock ya la han incorporada en el aula de música, mientras que la legislación de los países nórdicos es la más avanzada en este aspecto, habiendo establecido que los intereses y preferencias de los estudiantes deben ser reconocidos e incluidos como parte del currículum.

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“…In this sense, through listening and playing by ear in the learning process, the pupils were asked ‘to emulate as closely as possible the real-life learning practices of young, beginner popular musicians’ (ibid., p. 25). This pedagogical idea has had a far-reaching impact upon the music education practices in schools in England (Gower, 2012; Hallam et al, 2008; Hallam, Creech & Mcqueen, 2016; Wright & Kanellopoulos, 2010; Sexton, 2012), and ‘has become a significant theme in English music education’ (Finney & Philpott, 2010, p. 7). Furthermore, this wave of interest in using informal learning-practices as a new music classroom pedagogy has spread to Wales, Europe, North America, Australia and even Asia (see Dyndahl & Nielsen, 2014; Evans, Beauchamp & John, 2015; Feichas, 2010; Ho & Chua, 2013; Jeanneret, 2010; Karlsen, 2010; O'Neill & Bespflug, 2011; Wright, 2011).…”

Section: Informal Music Learning In the Classroommentioning

confidence: 99%

Informal learning: A lived experience in a university musicianship class

Mok¹

2017

Brit. J. Music. Ed.

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This study investigates how a class of university music students who engaged in a ‘lived’ experience of informal learning adopted methods and strategies to complete a self-learning ‘aural copying’ performance assignment in a musicianship class in Hong Kong. Data were collected from observations of the performances and the students’ written reflections. The findings showed that they used the methods of intensive listening, using technology, and collaborative learning, as well as the strategies of putting their knowledge of music theory into practice, substitution of instruments, and learning a new instrument in order to emulate the sounds of various instruments. They found this an interesting task that gave them opportunities to improve their musicianship, and they became more sensitive to different voice parts.

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What impact does teaching music informally in the classroom have on teachers, and their pedagogy?

Cited by 17 publications

References 12 publications

Can the adoption of informal approaches to learning music in school music lessons promote musical progression?

Can the adoption of informal approaches to learning music in school music lessons promote musical progression?

Las preferencias musicales de los estudiantes: hacia un reconocimiento de sus identidades culturales

Informal learning: A lived experience in a university musicianship class

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