Vernacular music-making and education

Abstract

This article examines the division of music styles according to the conventional categories of classical, traditional and popular, and proposes the term ‘vernacular’ as a complementary way of viewing various types of amateur music-making among diverse groups in modern societies. ‘Vernacular’, as it is used here, includes the idea of relatively distinct musical communities as well as more fluid networks and scenes. The article exposes the historical basis and problematic nature of style categorizations, and adapts a theoretical model of music production modes that highlights the interconnectedness of various genres and practices of vernacular music. Critical to this analysis is the dialectical interplay between style categorizations, between participatory and performance modes of production, and between vernacular music-making and the consumption of broadcast and recorded musical products. The article concludes by suggesting that the mapping of amateur music-making practices (including formal and informal methods of teaching and learning) can contribute to school- and college-based systems of music education.

‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

“…Playing by ear, therefore, demands careful and attentive listening which, as is well known, is fundamental to most vernacular musics of the world, as well as many nonWestern classical traditions (Campbell, 1991;O'Flynn, 2006). McPherson s research (McPherson, 1995b(McPherson, , 1997McPherson & Gabrielsson, 2002) has also shown that ear-playing is directly connected with the skill of improvising, sight reading and playing from memory.…”

Bringing the Outside In

“…To address this balance, a growing number of scholars have called for research on blended models of music education that incorporate both formal and informal teaching practices and include students from both formal and informal backgrounds (Feichas;Georgii-Hemming & Westvall, 2010;Green, 2006;Isbell, 2015;McPhail, 2013;O'Flynn, 2006). We recently observed one such blended formal/informal college music ensemble that we suggest holds implications for school music education.…”

“…We use the term blended formal/informal to describe an approach that scholars (Feichas, 2010;Georgii-Hemming & Westvall, 2010;Green, 2006;Isbell, 2015;McPhail, 2013;O'Flynn, 2006) have called for that incorporates both formal and informal practices and includes students from both formal and informal backgrounds. Finally, we use the term hospitality (Higgins, 2007a(Higgins, , 2007b(Higgins, , 2012 to contextualize the kind of environment the bandleader curates for music making and learning.…”

Informal Learning and Aural Learning in the Instrumental Music Lesson: A Research-And-Development Pilot Project

“…The first year and other aspects of the project were funded by the Esmée Fairbairn Foundation with the support of the London University Institute of Education. 3 For current projects and commentaries concerning the adaptation of informal music learning practices within the formal realm, see for example: Allsup (2004), Boespflug (2004), Byrne (2005), Byrne and Sheridan (2000), Cope (1999) Cutietta (2004, Downey (2009), Dunbar-Hall (1996), Dunbar-Hall and Wemyss 2000, Emmons (2004), Evelein (2006), Feichas (2010), Folkestad (2006), Finney and Philpott (2010), Gatien (2009), Georgii-Hemming and Westvall (2010), Green (2001Green ( , 2008, Heuser (2008), Humphreys (2004), Jaffurs (2004), Jones (2008), Karlsen (2010), Lebler (2007Lebler ( , 2008, Lines (2009), Mans (2009), Marsh (2008), O'Flynn (2006, Rodriguez (2004Rodriguez ( , 2009, Seddon andBiasutti (2009, 2010), Siefried (2006), Väkevä (2006, Watkins (2010), Wemyss (2004), Westerlund (2006), Woody and Lehmann (2010), Wright and Kanellopoulos (2010). This list is not exhaustive and there are many other excellent references on this topic to be explored.…”