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Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it. Drawing on a series of interviews with musicians aged between fifteen and fifty, Lucy Green explores the nature of pop musicians' informal learning practices, attitudes and values, the extent to which these altered over the last forty years, and the experiences of the musicians in formal music education. Through a comparison of the characteristics of informal pop music learning with those of more formal music education, the book offers insights into how we might re-invigorate the musical involvement of the population. Could the creation of a teaching culture that recognizes and rewards aural imitation, improvisation and experimentation, as well as commitment and passion, encourage more people to make music? Since the hardback publication of this book in 2001, the author has explored many of its themes through practical work in school classrooms. Her follow-up book, Music, Informal Learning and the School: A New Classroom Pedagogy (2008) appears in the same Ashgate series.
This pioneering book reveals how the music classroom can draw upon the world of popular musicians' informal learning practices, so as to recognize and foster a range of musical skills and knowledge that have long been overlooked within music education. It investigates how far informal learning practices are possible and desirable in a classroom context; how they can affect young teenagers' musical skill and knowledge acquisition.
Musical identity raises complex, multifarious, and fascinating questions. Discussions in this new study consider how individuals construct their musical identities in relation to their experiences of formal and informal music teaching and learning. Each chapter features a different case study situated in a specific national or local socio-musical context, spanning 20 regions across the world. Subjects range from Ghanaian or Balinese villagers, festival-goers in Lapland, and children in a South African township to North American and British students, adults and children in a Cretan brass band, and Gujerati barbers in the Indian diaspora.
This book takes a fresh look at 'the musician' and what constitutes 'development' within the fields of music psychology and music education. In doing so, it explores the relationship between formative experiences and the development of the musician in a range of music education settings. It includes the perspectives of classroom teachers, popular musicians, classical musicians and educators in higher education.
The aim of this book is to present a detailed and theoretical analysis of what went on during a research-and-development project which introduced and evaluated new pedagogical methods in the music classroom. The book looks at how things occurred, why and what benefits and challanges the project seemed to offer to music education.
What are musicians really like?
A valuable new resource on the trends and issues related to the use of popular music in the classroom, this collection of essays by well-known scholars and educators addresses many important topics. Includes a discussion of the many possible definitions of popular music, information on how popular musicians learn, and specific examples of educational programs that incorporate popular music with suggestions on how to choose high quality repertoire. Fourth in the Northwestern University Music Education Leadership series.
Cult Musicians handpicks 50 notable figures from the modern world of music and explores the creative genius that earned them the cult label, while celebrating the works that made their names. What makes a cult musician? Whether pioneering in their craft, fiercely and undeniably unique or critically divisive, cult musicians come in all shapes and guises. Some gain instant fame, others instant notoriety, and more still remain anonymous until a chance change in fashion sees their work propelled into the limelight. In Cult Musicians Robert Dimery introduces 50 musicians deserving of a cult status. The book will cover a plethora of genres and boundary-breakers, from afrobeat and art pop to glam rock and proto punk – Bjork and PJ Harvey to Aphex Twin and Wiley. Discover little knowns with small, devout followings and superstars gracing the covers of magazines: each musician is special in their individuality and their ability to inspire, antagonise and delight. Following Cult Artists, Cult Filmmakers and Cult Writers, Cult Musicians is an essential addition to any music lover's library, as well as an entertaining introduction to our weird and wonderful world of music. The Musicians: Alex Chilton, Alice Coltrane, Aphex Twin, Arthur Lee, Arthur Russell, Betty Davis, Bjork, Bobbie Gentry, Brian Eno, Brigitte Fontaine, Captain Beefheart, Delia Derbyshire, Edith Piaf, Fela Kuti, Frank Zappa, Gil Scott-Heron, Iggy Pop, J Dilla, John Cage, Karlheinz Stockhausen, Kat Bjelland, Kool Keith, Laurie Anderson, Lee 'Scratch' Perry, Lili Boulanger, Lydia Lunch, Manu Chao, Marianne Faithfull, Mark E. Smith, Mark Hollis, Moondog, Nick Cave, Nick Drake, Nico, Patti Smith, Peaches, PJ Harvey, Robert Wyatt, Roky Erickson, Ryuichi Sakamoto, Sandy Denny, Scott Walker, Serge Gainsbourg, Sixto Rodriguez, Sun Ra, Syd Barrett, The Slits, Tom Waits, Wiley, Yoko Ono.
Where does learning begin and how is it sustained and stored in the brain? For musicians, these questions are at the very core of their creative lives. Cognitive and neuroscience have flung wide the doors of our understanding, but bridging the gap between research data and music-making requires a unique immersion in both worlds. Lynn Helding presents a symphony of discoveries that illuminate how musicians can optimize their mental wellbeing and cognitive abilities. She addresses common brain myths, motor learning research and the concept of deliberate practice, the values of instructional feedback, technology’s role in attention disorders, the challenges of parenting young musicians, performance anxiety and its solutions, and the emerging importance of music as a social justice issue. More than an exploration of the brain, The Musician’s Mind is an inspiring call for artists to promote the cultivation of emotion and empathy as cornerstones of a civilized society. No matter your instrument or level of musical ability, this book will reveal to you a new dynamic appreciation for the mind’s creative power.
This book explores the fundamentals of popular music performance for students in contemporary music institutions. Drawing on the insights of performance practice research, it discusses the unwritten rules of performances in popular music, what it takes to create a memorable performance, and live popular music as a creative industry. The authors offer a practical overview of topics ranging from rehearsals to stagecraft, and what to do when things go wrong. Chapters on promotion, recordings, and the music industry place performance in the context of building a career. Performing Popular Music introduces aspiring musicians to the elements of crafting compelling performances and succeeding in the world of today’s popular music.