Music learning process of popular music learners : Implications for school music education

学校音乐教育如何与青少年的日常音乐生活相联系，一直是学校音乐教育工作者十分关注的问题。为了解决这个问题，流行音乐或半流行音乐被引入学校音乐课，因为流行音乐被认为是年轻人日常生活中最有趣的音乐。然而，学校音乐课与青少年日常音乐生活的差异和冲突，不仅在于教材(What)，更在于音乐学习和理解的方式(How)。根据以往的研究，通过听来复制录制的音乐是流行音乐学习者和专业人士捕捉音乐不可或缺的方式。“听”和“模仿”很可能是比学校音乐课上常用的阅读记谱更重要的流行音乐学习方式。因此，本研究聚焦于一支年轻的业余流行乐团的音乐学习过程。对他们的实践过程进行了观察和录像，以进行分析。此外，乐队成员还进行了非结构化访谈，一起观看回放视频，所有成员都认为听录音模式比阅读乐谱的记谱更有效，尽管他们的识谱能力各不相同。他们还在练习中集中听取了自己的表演，并就如何纠正错误、应该选择什么表达方式、应该选择什么样的舞台效果进行了讨论和建议。在他们的实践过程中，对学校音乐教育有几点启示。这些问题都是运用巴兹尔·伯恩斯坦的社会学教育学理论中的分类概念和框架概念来讨论的。

Music educators in school have had a strong concern about how school music education is related to everyday musical life of young people. As a solution of the problem, popular music or "semi"-popular music has been introduced into school music classes, because popular music is regarded as the most amusing music for young people in everyday life. However, difference and conflict between school music class and everyday musical life of young people is not only in teaching materials (What), but also in way of music learning and understanding (How).According to previous studies, copying after pieces of recording music through listening is an indispensable way to catch the music for popular music learners and professionals. "Listening" and "imitation" is likely to be more important way of learning of popular music than reading notation that is in common use in school music class. Therefore, this study focuses on the music learning process of a young amateur popular music band. Observations and video recordings of their practice process were conducted in order to analyze. In addition, unstructured interviews with the members were conducted, watching on the playback video together.All of the members of this band thought that listening to the recording model was more effective in catching the music than reading notation of musical score, although their ability of reading notation was various. They also concentrated on listening to their own performance during practice, and they discussed and suggested ideas of how to correct errors, what expression and what stage effects should be chosen. There are several implications for school music education in their practice process. These points were discussed, using the concepts of <Classification> and <Framing> by Basil Bernstein's sociological theory of pedagogy.