Finding the “both/and”: Balancing informal and formal music learning

2020 ◽  
Vol 38 (3) ◽  
pp. 441-455
Author(s):  
Juliet Hess
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Learning Strategies ◽  
Formal Learning ◽  
Music Learning ◽  
Human Relationships ◽  
Informal Music Learning ◽  
Formal And Informal Learning ◽  
K 12 ◽  
Structured Approach

This article explores the informal and formal learning experiences of 20 activist-musicians. Multiple activist-musicians utilized the informal learning strategies Green identifies. More than half of the participants, however, bemoaned the lack of more formal music education. They noted that they valued informal musical learning practices and also wished that they had experienced more of a balance between formal and informal music learning strategies in their music education. Many of the participants identified as being self-taught. In interviews, they shared ideas about teaching themselves and “figuring things out” musically. They discussed both wanting to move away from theory and needing theory. They further preferred a structured approach to education before moving to a more “free” pedagogy. Ultimately, they noted that the human relationships intrinsic to musicking may transcend the need for “training.” This article concludes by exploring implications of implementing a balance between formal and informal learning for K-12 schooling and teacher education.

Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning

2018 ◽  
Vol 42 (1) ◽  
pp. 3-18 ◽  
Author(s):  
Julie Derges Kastner
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Teacher Identity ◽  
Learning Processes ◽  
Music Teacher ◽  
Music Learning ◽  
Informal Music Learning ◽  
Formal And Informal Learning ◽  
School Music ◽  
Definition Of

The purpose of this narrative case study was to describe the developing teacher identity of Nicole Downing, a first-year teacher in the US, in her use of both formal and informal learning processes. As music education continues embracing approaches like informal music learning, it should also reflect on the voices of teachers in the field. Data collection included interviews, observations, and participant writings. Findings revealed that Nicole (a) questioned and eventually accepted her music teacher identity, (b) exhibited a dualism between her use of formal and informal music learning processes, and (c) broadened her community’s definition of school music. Nicole used the metaphor of a bruise to describe how she believed some in her undergraduate studies would judge her interest in popular music and creative musicianship, but as she became a music teacher she had agency to incorporate the informal learning she valued. Nicole exhibited a duality in her use of formal and informal learning processes, which were not integrated in her teaching. Ultimately, she developed a broadened definition of school music that she believed was beneficial for students but perceived negatively by other music teachers. Music teacher education should support teachers’ diverse identities and continue to explore the teaching strategies used in facilitating informal music learning experiences.

Maschine-itivity: How I found my creativity using a digital sampling device to compose music

2016 ◽  
Vol 9 (3) ◽  
pp. 289-313
Author(s):  
Jonathan Kladder
Keyword(s):  
Music Education ◽  
Learning Strategies ◽  
Creative Process ◽  
Contemporary Music ◽  
Music Learning ◽  
Sampling Device ◽  
Digital Sampling ◽  
Informal Music Learning ◽  
Contextual Understanding ◽  
Auto Ethnography

The ubiquity of digital music technology has prompted researchers and scholars to examine how music educators might support music learning that encourages creativity through the use of these mediums. Infusing technology into current curricular offerings offers one avenue in fostering a diversity of music learning experiences for students when teachers are interested in developing creativity in their students. Research examining current practising teachers and their experiences with digital sampling and beat making technology is limited. The purpose of this research was to offer my experiences learning, writing and sharing music using a sampling and beat-making device called the Maschine. This auto-ethnography uses Sawyer’s eight stages of the creative process as the theoretical framework to guide analysis of my creativity. The aims of this research were to: (1) reflect on the creative process involved in making music on a digital sampling and beat-making device; (2) provide a contextual understanding of my challenges and successes along the way; and (3) suggest implications for both current and future music teachers interested in learning to use this type of technology in their music teaching to provide contemporary music making experiences for their students. Results suggest that vernacular and informal music learning strategies were common over the 14-week semester, as YouTube tutorials supported my learning. My creativity occurred in small incremental steps and yielded three completed compositions at the culmination of the project. A conceptual model of the creative process is proposed, outlining the non-linearity of my creative process. Implications for music education are offered in conclusion.

Informal music learning, improvisation and teacher education

2010 ◽  
Vol 27 (1) ◽  
pp. 71-87 ◽  
Author(s):  
Ruth Wright ◽  
Panagiotis Kanellopoulos
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Student Teachers ◽  
Music Learning ◽  
Teachers Perceptions ◽  
Free Improvisation ◽  
Informal Music Learning ◽  
The Social ◽  
Narrative Methodology ◽  
Communicative Context

This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming ‘an act of transcendence’ (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy.

Human Potential, Technology, and Music Education

2017 ◽  
pp. 218-224
Author(s):  
Smaragda Chrysostomu
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Human Potential ◽  
Technology In Education ◽  
School Life ◽  
Music Learning ◽  
Humane Education ◽  
The Core ◽  
Use Of Technology ◽  
Formal And Informal Learning

Technology, music, and education, the interrelations and interactions between them as well their impact on music education and young people’s lives, are explored in the Core Perspectives of this part of this book. Writers describe how technology enables transcendence of boundaries between formal and informal learning and between school life and personal life, potentially providing the necessary bridge that would transform music learning. At the same time, a number of threats from the use of technology in education and music education are recognized. Common threads from three different Core Perspectives’ chapters are explored and discussed in relation to the ultimate goal of education. Further discourse and caution, as well as further research, is important in order to explore and clarify potential opportunities for a more humane education and future.

scholarly journals Informal and Participatory Cultures in Music Education

2014 ◽  
Vol 5 ◽  
Author(s):  
Deanna C. C. Peluso
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Cultural Context ◽  
Contemporary Music ◽  
Music Educators ◽  
Human Condition ◽  
Music Learning ◽  
Self Identity ◽  
Informal Music Learning ◽  
Self Knowledge

Music provides a forum to explore knowledge, creativity, collaboration and expression as a part of the human condition, in which we relate self-identity, self-knowledge and a socio-cultural context for our experiences (Hodges, 2005). Many youth are able to be involved in participatory cultures, where musical learning occurs easily and without formal intervention, through the development of complex technologies that allow interaction and sharing across the world without the limitations of geographical boundaries. Musical activities are a significant part of many young people’s everyday lives, as they are musically encultured from a young age, yet the majority of their musical participation occurs outside of formalized music education (O’Neill, 2005), through informal learning within popular music (Green, 2007). Contemporary music educators are faced with finding ways for youth to strengthen the connections between music education at school and their musical experiences outside the school walls; and I posit that an understanding of participatory and informal music learning practices might help this challenging endeavour.

Instrumental Ensemble Learning and Performance in Primary and Elementary Schools

2012 ◽  
pp. 416-434 ◽  
Author(s):  
Sharon G. Davis
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Learning Strategies ◽  
Instrumental Music ◽  
Musical Instruments ◽  
Band Model ◽  
Instrumental Ensemble ◽  
Instrumental Music Education ◽  
Formal And Informal Learning ◽  
And Performance

Children around the globe are involved in multiple ways of making music both inside and outside the classroom. Children identify playing musical instruments as one of their most enjoyable activities, and it is not surprising that a variety of instrumental programs are found worldwide in both formal and informal learning settings. While traditional instrumental ensemble models in schools have provided a meaningful and enjoyable music education for some, to serve students well we need to expand our conception of instrumental music education beyond prevalent musical models, ensembles, and literature, and begin to embrace and value students' informal learning strategies and approaches as well. In the context of a Western band model, this article considers whether the ways instrumental music learners engage with music outside the formal settings of schools can inform and transform our understanding of how to teach in formal settings.

Music Education in P-12 Schools to Learn From Each Other

2020 ◽  
pp. 176-196
Keyword(s):  
Social Interaction ◽  
Social Context ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Community Members ◽  
Music Learning ◽  
Technical Aspects ◽  
K 12

This chapter describes cases of music teaching and learning from Pre-K-12 schools. As a trait of book, instead of focusing on how-to instruction and technical aspects of music teaching, the author puts a special emphasis on music learning in a social context. Both music and music education consist of social interaction among learners, teachers, and community members. This process is especially unique to music because we always learn from each other and perceive music in a shared sense. The author wishes you also learn from these cases and implement the idea of your practice for students to learn from each other.

Informal Learning as a Catalyst for Social Justice in Music Education

2015 ◽  
pp. 301-317
Author(s):  
Lucy Green ◽  
Flavia Narita
Keyword(s):  
Social Justice ◽  
Critical Pedagogy ◽  
Music Education ◽  
Informal Learning ◽  
Critical Consciousness ◽  
Music Classroom ◽  
Informal Music Learning ◽  
Learning Practices ◽  
School Music ◽  
Teachers And Students

This chapter considers social justice in relation to the incorporation of a set of informal learning practices within the secondary school music classroom and teacher education. It interprets Nancy Fraser’s view of social justice as “parity of participation” in order to suggest that the dialogical approach of informal music learning practices can potentially promote such participatory parity. It then examines Paulo Freire’s concept of critical pedagogy, which emphasizes the need for teachers and students to participate together in the learning process so as to enhance critical consciousness. Through an application of Green’s theory of musical meaning, the authors suggest that critical consciousness in music can be aided through a deeper understanding of music’s sonic materials and their inter-relations. Informal learning in the music classroom may promote both parity of participation and critical consciousness, with the potential to lead to a liberating musical experience.

Equity and Access in Out-of-School Music Making

2017 ◽  
pp. 502-510
Author(s):  
Kylie Peppler
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Learning Spaces ◽  
Music Learning ◽  
Equity And Access ◽  
Music Making ◽  
School Music ◽  
Pathways Model ◽  
Recording Studios ◽  
Out Of School

This chapter focuses on the importance of community to both music education and the ways that youth shape their ideas, interests, and identities in music. Musical learning is rarely, if ever, about a learner operating a new musical technology-based tool in isolation. Music is inherently social, and these influences have a great impact upon the development of musical identities. This chapter explores the ways that out-of-school spaces like those in the Computer Clubhouse Network, YOUmedia, and Musical Futures support social music learning by providing private recording studios that allow youth to assume increasingly public roles as musicians, performers, and producers. The chapter also describes how mixing formal, nonformal, and informal learning spaces helps to develop a youth’s musical maturity through what is known as the “progression pathways model.”

scholarly journals THE SOCIAL ASPECT OF THE USAGE OF PUPILS' SELF-EXPRESSION SKILLS ACQUIRED WITHIN MUSIC EDUCATION

2020 ◽  
Vol 11 (2) ◽  
pp. 101-113
Author(s):  
Iveta Kepule ◽  
AINA STRODE
Keyword(s):  
Music Education ◽  
Data Processing ◽  
Informal Learning ◽  
Social Performance ◽  
Rank Correlation ◽  
Social Contexts ◽  
Theoretical Research ◽  
Social Aspect ◽  
The Social ◽  
Formal And Informal Learning

Aim. The aim of the research is to study the usage of primary school pupils’ self-expression skills acquired within music education in various social contexts. Methods. Theoretical research method – the analysis of literature, empirical data acquisition method – questionnaire. Statistical data processing has been carried out in IBM SPSS 23 programme, using the following data processing methods: frequency analysis; Mann-Whitney U test for the comparison of two independent groups; Kruskal-Wallis test for the comparison of three or more independent groups; Kendall rank correlation coefficient for the assessment of associations between two variables. Results. In the development of self-expression skills, an important aspect is the social performance criterion that is based on pupils’ need for self-expression in a social environment of practising music. Age and gender-based correlations in the assessment of a self-expression skill criterion "Social performance" indicate that with age pupils become more independent and engaged in music-related social activities. Girls are socially more active and emotional and engage in artistic activities more often. The research confirms the role of teachers in the development of pupils’ self-expression skills, promoting integration of formal and informal learning process and transformation in formal and informal learning environment. Conclusions. The dynamics and interactions of self-expression skills’ development factors (social, emotional and intellectual) defines pupils’ individual self-expression skills and development tendencies. Self-expression is important for pupils in social aspect, as it is related to socialisation in microenvironment (family) and macroenvironment (friends) and affects cooperation and communication.

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