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 cheap air max , 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 cheap air max invigor , 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 cheap air max tavas , encourage more people to make music?
Feedback from a piano teacher:
"Having been a piano teacher for 30 years and understanding the fact that there was this 'missing subject', I fully expected other teachers to be excited about having the material organized for them. Any of the following could be the reason:
1. Students are not asked to provide acc. for a melody as part of the formal examinations.
2. Most teachers have not been trained in this area and are sometimes intimidated. (Or feel it is below their dignity!)
3. Teacher could be concerned about the student surpassing them in that area.
4. Not enough time at the lesson. (Most likely would find time if given marks at the exam!)
5. By opening the door the teacher could lose the student to the classics”
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