Musical futures in Ireland: findings from a pilot study in primary and secondary schools

Moore, Gwen

doi:10.1080/14613808.2019.1593954

Cited by 14 publications

(18 citation statements)

References 16 publications

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“…As similarly reported by Green (2008), Chua and Ho (2013), Jeanneret et al (2011), O' Neill and Bespflug (2012), and Linton (2014, the project permitted students to actively engage in music learning, allowing them to set their goals, and demonstrate a broad range of musical skills. During the process, participants developed confidence, consistent with other studies' findings (Hallam et al, 2017;Lill, 2015;Linton, 2014;Mariguddi, 2019;Moore, 2019) and felt like real musicians, as found by Chua and Ho (2013), O' Neill and Bespflug (2012), and Moore (2019).…”

Section: Discussionsupporting

confidence: 83%

“…Many researchers have investigated the integration of informal learning pedagogies in schools (e.g. Chua & Ho, 2013;Davis, 2013;Evans et al, 2015;Green, 2008;Kastner, 2014;Lill, 2015;Linton, 2014;Mariguddi, 2019;Moore, 2019;Seifried, 2006;Väkevä, 2010;Westerlund, 2006). There are also other studies that implemented informal learning pedagogies in extra curricular school settings (e.g.…”

mentioning

confidence: 99%

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Incorporation of informal music learning practices in a primary classroom in Cyprus

Papazachariou-Christoforou

2022

International Journal of Music Education

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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.

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Section: Discussionsupporting

confidence: 83%

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confidence: 99%

Incorporation of informal music learning practices in a primary classroom in Cyprus

Papazachariou-Christoforou

2022

International Journal of Music Education

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“…Lucy Green’s (2002, 2008) work on popular music has proliferated across music education. Musical Futures, an approach to popular music education in schools, operates in the United Kingdom (D’Amore, 2014; Hallam et al., 2017), Canada (Wright et al., 2012), Australia (Jeanneret, 2010), and Ireland (Moore, 2019). 1 Nordic approaches to music education are often rooted in popular music (Karlsen & Väkevä, 2012).…”

Section: Introductionmentioning

confidence: 99%

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

Hess

2020

International Journal of Music Education

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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.

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“…As the work became more well known internationally, a growing body of evidence appeared that the ILMF approach could be adopted by music teachers in a wide range of countries with varying educational systems, and multiple studies reported the motivational benefits of ILMF (e.g. Evans et al, 2015; Hallam et al, 2017, 2018; Jeanneret, 2010; Moore, 2019; Wright et al, 2012). …”

Section: Resultsmentioning

confidence: 99%

“…Positive outcomes and impact, similar to that achieved in England, have been documented since implementation in Australia (Jeanneret et al, 2011) andCanada (O'Neill &Bespflug, 2012). A key strength of ILMF that has repeatedly arisen in the wider literature is increased student motivation (Evans et al, 2015;Hallam et al, 2017Hallam et al, , 2018Jeanneret, 2010;Moore, 2019;Wright et al, 2012). However, due to the potential problems also raised in the literature, such as the examples given from the Institute of Education reports (Hallam et al, 2008(Hallam et al, , 2011, a lack of understanding about ILMF and its potential impact in music education remained.…”

Section: Musical Futuresmentioning

confidence: 99%

Research‐informed teaching: The case of Musical Futures

Mariguddi

Cain

2022

British Educational Res J

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Drawing on descriptions of research-into-practice initiatives, this article presents a new framework to aid understanding of how research findings influence educational practice at scale. The framework focuses upon five areas: trustworthiness of the findings and generalisability; implications and instructions for practice; support for implementation; fidelity of the implementation; and accountability. Green's informal learning model for music education is focused upon as one example of how research findings influence classroom practice, explored through the lens of the framework. The empirical research was conducted in two phases: (1) semi-structured interviews were conducted with key figures relating to the initiative; (2) four case studies were undertaken, involving secondary school music teachers and their pupils. The research examined the extent to which research-informed teaching was evident in the schools, and what factors might influence this. Methods used within the case studies included observation, interviews and document sources. Data was analysed thematically. It was found that Green's model was evident in the case study schools to some extent, but there was a gap identified between Green's underpinning research

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Musical futures in Ireland: findings from a pilot study in primary and secondary schools

Cited by 14 publications

References 16 publications

Incorporation of informal music learning practices in a primary classroom in Cyprus

Incorporation of informal music learning practices in a primary classroom in Cyprus

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

Research‐informed teaching: The case of Musical Futures

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