ABSTRACT

Twenty years have passed since Green’s [2002. How Popular Musicians Learn: A way Ahead for Music Education. Aldershot: Ashgate] publication which proposed a model of informal learning based upon five key principles. The discussion it ignited within the discipline was vast, the debate is still on-going, and the approach is still being implemented internationally. It is timely to explore literature that has focused upon Green’s (2002. How Popular Musicians Learn: A Way Ahead for Music Education. Aldershot: Ashgate; 2008. Music, Informal Learning and the School: A New Classroom Pedagogy. Aldershot: Ashgate) model, to celebrate the approach, and acknowledge the challenges of implementation – particularly in light of current formal, traditional music education policy in England – to consider ways of addressing the issues. Literature has been presented according to key themes,to highlight tensions, issues and strengths of the approach. The themes include teacher role, student autonomy, motivation, student inclusion, authenticity and marketisation. The key themes act as a framework to aid understanding of the complexities of the debate. The tensions, issues and strengths have implications for practice, as proposed in this article.

摘要

自格林的 [2002. 流行音乐家如何学习：音乐教育的前路。Aldershot: Ashgate] 出版物提出了基于五个关键原则的非正式学习模型。它在学科内引发了广泛的讨论，辩论仍在进行中，并且该方法仍在国际上实施。现在是时候探索关注格林（2002 年。流行音乐家如何学习：音乐教育的未来之路。奥尔德肖特：阿什盖特；2008 年。音乐、非正式学习和学校：一种新的课堂教学法）的文学作品. 奥尔德肖特：阿什盖特）模型，以庆祝这种方法，并承认实施的挑战——特别是考虑到英格兰目前的正式传统音乐教育政策——考虑解决问题的方法。文献已根据关键主题呈现，以突出该方法的张力、问题和优势。主题包括教师角色、学生自主权、动机、学生包容、真实性和市场化。关键主题作为一个框架来帮助理解辩论的复杂性。正如本文所提出的，这些紧张关系、问题和优势对实践有影响。