Recently, a growing interest from music educators and researchers has focused on the ways informal music learning practices could be integrated in schools’ classrooms, in a response to bridge the gap between the music studied at school and the hidden or private musical world of our students. This qualitative case study investigated the use of Green’s informal learning approach in three stages as derived from Musical Futures, but with some differences. Participants were 18 fifth-grade students (aged 10–11 years) in a rural school in Cyprus, along with eight parents. The findings here focus on exploring the learning process that the children underwent, derived from a larger study which also examined the benefits (musical and extra-musical) perceived by children and their parents. Despite differences in the cultural contexts, musical styles, and ages of the children, findings reveal similarities with related work on informal music learning in other cultural contexts, and with Green’s original work. However, different from Green’s work which was set in secondary schools, but similar to other research on Musical Futures in primary schools, students extensively used singing and incorporated movement throughout the learning process. Findings support the notion that young students can construct their music learning when given the opportunity to be active agents and collaborators in the learning process.

最近，音乐教育工作者和研究人员越来越关注将非正式音乐学习实践融入学校课堂的方式，以弥合在学校学习的音乐与学生隐藏或私人音乐世界之间的差距. 这个定性案例研究在三个阶段调查了格林的非正式学习方法的使用，该方法源自音乐未来，但有一些差异。参与者是塞浦路斯一所乡村学校的 18 名五年级学生（年龄在 10 至 11 岁之间），以及 8 名家长。这里的研究结果侧重于探索孩子们经历的学习过程，该研究源自一项更大的研究，该研究还检查了孩子及其父母所感知的好处（音乐和音乐外）。尽管文化背景、音乐风格不同，和孩子的年龄，研究结果揭示了与其他文化背景下非正式音乐学习的相关工作以及格林的原创作品的相似之处。然而，与格林的中学作品不同，但与其他小学音乐未来的研究相似，学生在整个学习过程中广泛使用歌唱和结合动作。研究结果支持这样一种观点，即当有机会成为学习过程中的积极代理人和合作者时，年轻学生可以构建他们的音乐学习。学生在整个学习过程中广泛使用歌唱和结合动作。研究结果支持这样一种观点，即当有机会成为学习过程中的积极代理人和合作者时，年轻学生可以构建他们的音乐学习。学生在整个学习过程中广泛使用歌唱和结合动作。研究结果支持这样一种观点，即当有机会成为学习过程中的积极代理人和合作者时，年轻学生可以构建他们的音乐学习。