In her recent work, Green (2001; 2008) builds on the idea that there is a gulf between "real-world music" and classroom music (Ibid., p. 2). One of her main goals seems to be to pave the way for the former in the latter: to make the music in schools more in touch with reality. The learning practices of popular music are taken to bring the needed…

In her new book "Music, Informal Learning and the School" (2008), Lucy Green consolidates many ideas presented in her previous writings. There is little doubt of the significance of her approach, but it raises epistemological and pedagogical issues that must be addressed to better understand where music teachers go next with informal…

In her book "Informal Learning and the School: A new classroom pedagogy" Lucy Green notes: "The issues ... centre around the importance of listening to young people's voices and taking their values and their culture seriously" (Green, 2008, p. 185). It can be argued that for young people, "their culture" is frequently…

Lucy Green's latest book, "Music, Informal Learning and the School: A New Classroom Pedagogy" (Green, 2008) posits that the learning taking place among popular musicians, developed out of a need to create and perform pieces of music, and found "everywhere in everyday life" rather than in the formalised settings of the majority…

In her book title "Music, Informal Learning and the School," Lucy Green has ineluctably taken teachers to a place where potentially, students can really participate in an interactive pedagogy where student-centeredness is applied in its full sense. For this reason, the author found the potential contribution of the book to music education…

Lucy Green's (2008) "Music, Informal Learning, and the School: A New Classroom Pedagogy" gives rise to an interesting corollary. Does the manner of music's transmission inform one's understanding of a musical category? While categories of music can be difficult to define according to strict musical characteristics, a better understanding of…

This article presents the author's response to the six authors in the special issue of "Action, Criticism and Theory for Music Education" concerning her book "Music, Informal Learning and the School: A New Classroom Pedagogy." In this response, the author focuses on some general observations that came to mind whilst reading the…

In this article the author reviews needs theory as a field of research and scholarship, examines seven needs theories (including Nussbaum's capabilities approach), and synthesizes elements of all of these into a list he used tentatively and speculatively to analyze two common instructional practices in music education. The author's intent is to…

People live, unarguably, in a violent world: in hard times, of dark days and nights. In this essay, the author asks the questions, what does it mean to live in an age of perpetual war? How do people make sense of everyday violence? How is it symbolically enacted? How is it sublimated and transcended? This essay also looks broadly at the meaning of…

Unlike the other arts, music has no direct connection with the rest of the human world. True, there are bird songs and natural "melodies" in the gurgling of brooks, but these are hardly the materials of music in the way that landscape can be the subject of painting. And no natural sounds can stand alone as quasi-artworks the way that the deeply…

Considered socially, musical values are always relative in practice to the uses and purposes of observers, thus accounting for the variety of meanings and values different people--even experts--derive from the same musical occasion, or the different meanings and values the same person experiences on different occasions. Music education is a…

This essay offers (1) a brief overview of how various sociological theories articulate the relationship of the individual to society; and (2) an analysis of community and self from a symbolic interactionist perspective in which the focus lies on the "webs of interaction" that shape music schooling as a field in which networks of groups of…

In this essay, the author commends Paul Woodford for bringing music education into the political area and sees his contribution as important for the field's maturity and ongoing health. This essay seeks to expand Woodford's notion of democracy beyond the ideals of public intelligence or abstract reason so as to to highlight and engage with…

In this essay, the author builds on Val Plumwood's (1993, p. 192) notion of "devouring the other" to address fundamental problems of social justice and difference in liberal democracies and music education. The problem with liberal democracies is that they assimilate (devour) difference; consensual treatment of its citizens is predicated on the…

In this article, the author engages in a lively interactive discussion with Paul Woodford's text, "Democracy and Music Education." He questions Woodford's criticism of Praxial Music Education (PME)--particularly his dismissal of PME as a "performance alone" notion. PME, this author asserts, is fundamentally multidimensional, contextually reflexive…