How Popular Musicians Learn: A Way Ahead for Music Education
How Popular Musicians Learn: A Way Ahead for Music Education
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流行音乐家如何学习：音乐教育的未来之路
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发表时间：
2003
期刊：
影响因子：
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通讯作者：
R. Woody
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作者：
R. Woody
这本书是由英国音乐教育家和研究者露西绿色。她之前的两本书（1988年，1997年）表明她对音乐和教育的社会学方面感兴趣。流行音乐家如何学习表明，她是相当熟练的沟通她的想法。虽然流行音乐的世界已经被其他学者，主要是社会学家（例如，Epstein，1994）和音乐学家（例如，摩尔，2001年），绿色的工作是特别受欢迎的，因为它的正面教育的角度。这本书应该会吸引广泛的读者（包括有抱负的流行音乐家本身），但强烈推荐给所有专业的音乐教师。这本书的内套写道：“流行音乐家在学校或大学之外非正式地获得了他们的部分或全部技能和知识，并且几乎没有受过训练的器乐教师的帮助。“对于许多音乐教育者来说，他们自己的音乐发展主要是在正规教育的指导下进行的，认为人们可以独立于专业教学而成为有成就的音乐家，这有点威胁或至少是自我否定。然而，毫无疑问，这种情况发生了，而且可能比那些在罗马的人意识到的更频繁。受过正规训练的音乐教师可能会被感动阅读这本书，以认识到流行音乐家的一些可取的品质。其中，很可能很少有自学成才的“车库音乐家”在十几岁后就像许多高中乐队成员毕业时那样把吉他永久收藏起来。这一重要问题的讨论音乐作为一种参与性的活动出现在整个书。
This book was written by British music educator and researcher Lucy Green. Her two previous books ( 1 988, 1 997) show she has an interest in the sociological aspects of music and education. How Popular Musicians Learn demonstrates that she is quite skilled at communicating her ideas. Although the world of popular music has been examined by other scholars, primarily sociologists (e.g., Epstein, 1994) and musicologists (e.g., Moore, 2001), Green's work is especially welcome for its squarely educational perspective. This book should appeal to a wide readership (including aspiring popular musicians themselves), but it is highly recommended to music teachers of all specializations. The inside sleeve of this book reads, "Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers." For many music educators, whose own musical development occurred mostly under the direction of formal instruction, it is a little threatening or at least self-denying to think that people can become accomplished musicians independent of professional teaching. Yet there is no doubt that this happens, and probably more frequently than those within academe realize. Formally trained music teachers might be moved to read this book in recognition of some of the desirable qualities of popular musicians. Among them, it is likely that fewer self-taught "garage musicians" pack away their guitars in permanent storage after their teen years, like so many high school band members do upon graduation. Discussion of this important issue music as a participatory activity appears throughout the book.