How Popular Musicians Learn: A Way Ahead for Music Education

By Lucy Santos Green. 2002

804 citations recorded by the source corpus.

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REVIEW ARTICLE (2008, unknown): “Music, informal learning and the school: a new classroom pedagogy, by Lucy Green, Aldershot, Ashgate, 2008, 226 pp., £45.00 (hardback), ISBN 978-0-7546-6242-6; £16.99 (paperback), ISBN 978-07546-6522-9 This book reports on a research project conducted between 2002 and 2006 in the UK by Lucy Green an”
The beat goes on: music education, identity and lifelong learning (2011, background): “(Jeannie, 47, UK, violinist) In the later stages, the importance of developing intrinsic motivation is supported by arguments drawn from studies of popular musicians learning in childhood (Green 2002).”
Informal music learning, improvisation and teacher education (2010, background): “In it Green introduced pedagogy based on the common processes used by some popular musicians in their music making to classroom music lessons (see Green 2002, 2008a).”
Emotion, Functionality and the Everyday Experience of Music: Where does music education fit? (2001, background): “Two major examples of this approach are provided by Green (2001) in relation to the lives of popular musicians, and De Nora (2000) in relation to the personal lives of adult non-musician women.”
Popular music education in and for itself, and for ‘other’ music: current research in the classroom (2006, background): “These differ greatly from formal music educational procedures and from the ways in which classical musical skills and knowledge have been acquired and transmitted, at least over the last two centuries or so (Green, 2002a).”
Student Musicians’ Ear-Playing Ability as a Function of Vernacular Music Experiences (2010, background): “The members of vernacular music groups make heavy use of listening–copying processes and improvisation as they collaborate with peers to reproduce the sounds of their favorite music and create original compositions by ear (Davis, 2005; Green, 2001; McGillen & McMillan, 2005).”
Garage rock bands: a future model for developing musical expertise? (2006, background): “It is symptomatic that popular music contexts, and in particular informal ways of learning in garage rock bands, have recently been under scrutiny by researchers in music education (e.g. Green, 2002, 2004; Gullberg, 2002).”
Young people, new technologies and learning at home: taking context seriously (2012, background): “…and places (virtual and real) that young people inhabit, spaces that we know are increasingly socially constructed (Ito et al., 2008), that demand a range of different skills (Jenkins, 2006) and that demand (from an educationalist perspective) quite novel approaches to learning (Green, 2001 2008).”
Open and informal online communities as forums of collaborative musical activities and learning (2006, background): “The ability to communicate with fellow musicians as well as the audience is a vital part of musical creativity (Green, 2001; Hargreaves et al., 2003).”
Formal and informal learning situations or practices vs formal and informal ways of learning (2006, background): “In her interview study of professional and non-professional rock musicians, aged between 15 and 50, Green (2001) describes their musical learning strategies to become rock musicians as an example of informal musical learning.”