從美國The National Standards for Arts Education介紹美國音樂教育標準

The inclusion of popular music as a content area in music education is not uncommon. The musicological study of popular music is well established in higher education, and even the practice of popular music is becoming more common in both secondary education and the post-compulsory sector. However, when this occurs, it is likely to be taught in more or less the same way as other more established content areas like western classical music or jazz, with teachers being in control of the process and the curriculum, the feedback and the assessment. However, popular music is usually learned in the broader community as a self-directed activity, sometimes including interactions with peers and group activities, but rarely under the direction of an expert mentor/teacher. One Australian conservatorium has adopted the pedagogy of popular music through the creation of a scaffolded self-directed learning environment within its Bachelor of Popular Music programme. This paper argues that the pedagogical approach employed ...

Popular music pedagogy: peer-learning in practice

/pdf/popular-music-pedagogy-peer-learning-in-practice-4y5cu318ub.pdf

Popular Music Pedagogy: Peer Learning in Practice.

This study explored the differences in ear-playing ability between formal “classical” musicians and those with vernacular music experience (N = 24). Participants heard melodies and performed them back, either by singing or playing on their instruments. The authors tracked the number of times through the listen-then-perform cycle that each participant needed for accurate performance. Participants retrospectively reported their thoughts and provided biographical information related to vernacular music experience. Analyses indicated that singing required fewer trials than playing on instruments and that vernacular musicians required fewer trials than formal musicians. The verbally reported thoughts indicated that participants used different strategies for encoding the melodies. Vernacular musicians applied a more sophisticated knowledge base to generate accurate expectations; formal musicians used less efficient strategies. Formal musicians devoted more conscious attention to physically producing the melodies on their instruments (e.g., fingerings), a process that was executed more automatically by vernacular musicians.

Student Musicians’ Ear-Playing Ability as a Function of Vernacular Music Experiences:

How do student teachers learn to use informal learning and pedagogy in their teaching? Through focusing on Initial Teacher Education (ITE) in England, this paper will explore the possibility of developing a meta-pedagogy which embraces informal learning and pedagogy in music. The paper is in two parts, the first of which examines the background to Informal Learning and Pedagogy (ILP) in English music education and some attendant issues surrounding initial teacher education. The second will report on some approaches to developing a meta-pedagogy for ILP in music, before speculating on future areas for research in music ITE. The concepts of ‘living’ and ‘excavating’ learning will be proposed as important meta-pedagogical tools in the process of student teachers learning how to teach music.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0265051709990167

Informal learning and meta-pedagogy in initial teacher education in England

This ethnographic study is an investigation of the environment that students create when making music that is meaningful to them. The initial purpose of the study was to describe a developing ‘rock group’, and the factors that contributed to its creation. The significance of the study may be in the discovery of ways to ‘counter mechanisms of dominance inherent’ (Fornas, Lindberg, & Sernhede, 1995, p. 263) in many formal environments. The author reflects on the lessons of informal music learning practices and the implications for her own classroom environment. A broader perspective on the informal/formal dichotomy may help teachers establish more diverse learning practices.

Sheri E. Jaffurs

Papers

The impact of informal music learning practices in the classroom, or how I learned how to teach from a garage band