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Informal Learning Practices in the Teaching and Music Making Of Article Research Perspectives in Music Education Informal Learning Practices 18(1), 38-51 © 2016 The Florida Music in the Teaching and Music Education Association Making of Music Teachers: A Preliminary Study Robert Saunders1 Abstract The purpose of this pilot study was to examine two classroom teachers who participate in informal music making and have introduced aspects of the experiences into their teaching. I examined the availability of informal learning environments in the form of musical “sessions” or gatherings in a city in upstate New York. Through purposeful sampling techniques, I observed two teachers in each of their informal session settings. Both teachers were then asked to take part in a semi-structured interview about their use of informal music learning practices in their classroom teaching. The data from both aspects of the study were coded and compared to draw out themes such as their use of repetition, their performance of several styles of music, and their interest in learning many of the instruments found in the style in which they participated. These themes imply the usefulness of participation in informal music experiences for pre- service and in-service teachers. Recommendations of further research include identification of similar individuals to the participants in this study on a national level and using that data to initiate similar studies in other parts of the country. Keywords Informal Music Learning, Vernacular Music, Bluegrass, Gamelan, Case Study Introduction Pre-service teachers are primarily prepared to create formalized learning environments for their students. Formal music learning is characterized by the use of curricular and methodical goals that guide instruction on a predetermined path. Jenkins (2011) describes formal instruction is the “attempt to refine, regulate, and control certain aspects of informal learning” (p. 180), which leads readers to assume a hierarchy between formal and informal music learning. In contrast, Green (2005) posits that “informal popular music learning practices… take place largely in the absence of adult supervision or guidance” (p. 27). This is not to say that guidance is not necessary or that a teacher should not be trained to offer students opportunities to create music informally. Informal learning is learner initiated and is characteristically not outcome driven (Coffman, 2002). Although goals and outcomes may not be clearly defined, the benefits of this type of learning are clearly described by several researchers. An important delineation to make is the difference between learning settings for informal and formal music making (Jenkins, 2011). Often, informal music making takes place in the form of musical sessions (Cope, 2002; Waldron & Veblen, 2009), and participants are engaged in a social music activity (Batt-Rawden & DeNora, 2005; Cope, 2002). 1 University of Miami Corresponding Author: 2910 NW 130th Ave. Unit 202, Sunrise FL 33232, [email protected] Saunders 39 Through this engagement, participants are actively defining a musical self (Batt-Rawden & DeNora, 2005) as well as creating an important “social network of like-minded people” (Waldron & Veblen, 2009, p. 66). Another concept to consider in the discussion of informal music making is that of vernacular music and the importance of understanding a teacher’s role in a student’s musical acculturation. The term vernacular is used to “embrace a range of musical genres and practices that people have access to all of their lives” (O’Flynn, 2006, p. 140). This internal musical library is gained through constant listening and imitating of examples given by others (Woody & Lehmann, 2010), so clear connections to informal music learning practices can be made. The music environment for each person is different but similarities exist in the almost ubiquitous mixture of western art and pop music in each person’s vernacular music (O’Flynn, 2006). An increase in informal music learning through the use of technological resources such as the internet (Cope, 2002; Waldron, 2012) has led to changes in the vernacular music of individuals. The benefits of such learning practices and concepts is seen clearly in a mixed method study by Woody and Lehmann (2010) in which the students with the most experience and understanding of their vernacular music were best equipped to play and were more comfortable with performing short, original melodies by ear. Social relevancy and the impact that traditional styles of music have are important elements in the education of future generations of music participants (Dabback & Waldron, 2012; Higgins, 2012). Children gain an understanding of their cultural history and create deeper connections to the music around them in the very earliest stages of cognitive development (Custodero & Johnson-Green, 2003; Lopez, 2009; Swain, 2010). Informal music making can take the form of member driven session type participation (Kruse, 2013; Waldron & Veblen, 2009), religious or culturally driven celebrations or events (Graham, 1971; Hirabayashi, 2009), and government funded programs for musical creativity and preservation (Bartleet, 2009; Bush & Krikun, 2013). Bridging the gap between these experiences and the one found in a modern music classroom could benefit music educators and music learners. To better understand informal music practices, a large portion of research has been done in observing and describing the practices seen in informal musical sessions (Cope, 2002; Waldron & Veblen, 2009). Important aspects of informal music learning as described above are regularly observed in these settings (Folkestadt, 2006; Karlsen, 2009; Waldron, 2012). What has not been observed is the participation of trained music educators in these settings. Research has been conducted in observing how students learn informally without teacher interaction (Green, 2002). When music teachers have formal music training and understanding, the ways that these teachers interact with this process can be of great interest to other music education professionals. Researcher’s Experience My participation in informal learning practices started when I was in high school when I learned to play the mandolin. The goal of my music training was to take what I knew from formal cello instruction (notation reading, structural understanding, and ear training) and apply those executive skills to a new instrument. I chose to play mandolin because I had heard it on recordings during my childhood. After learning the basics of the instrument, I sought out new recordings of expert players. When I practiced the instrument, I chose the sonic characteristics that I liked the most, and I focused on those characteristics. Two projects during my tenure at a preparatory school where I taught highlight the success of informal music making in the classroom. The first was the bi-annual event “Just Stoopin’,” 40 Research Perspectives in Music Education a performance by the premier Upper School Chamber Ensemble located on the front stoop of the administration building. The building was an old farmhouse with a large front porch, and it reminded me of the setting of a social event a family friend’s house called the Strawberry Social where I played almost every year. But instead of playing traditional dance music, as I had performed at the Strawberry Social, I let my students in the Chamber Ensemble choose music from the strings library. They, of course, chose music that was familiar to them, such as classical and pop music, and I used this collection as a chance to teach sight-reading skills. When my students played music related to their past experiences, I observed that their performance level improved. In the second project, titled “The Spring String Celebration,” I chose music that I hoped the students would recognize either from their own personal listening or from their parents’ listening experiences. I wanted to play music that they may have heard in the car going on a family trip. Along with several pieces from pop radio, I chose songs from the The Beatles and other classic rock performers. The activities culminated in a rock concert, complete with lights, amplification, and costumes. As the above research literature and my personal experiences suggest, there is a large portion of research dedicated to the learning processes of students involved in informal music learning. What has not been looked at in depth is how teachers can be participants in the informal music making along with their students. Case study research of specific teachers’ activities is limited, and a broader understanding of these teachers’ backgrounds could be beneficial. Music educators need to know why such teachers are interested in informal learning and what allows them to feel comfortable in this style of instruction. Making connections between pre-service music teacher training and informal music participation could help in-service teachers confidently build skills specific to this style of teaching. With greater understanding of individual experiences and personal practices, there may be a way to design further instructional practices to include informal learning in the formal music classroom. The purpose of this pilot project was to examine two Upstate New York teachers’ descriptions of their use of informal music learning techniques in their classroom instruction, and how their participation in informal music environments informs their classroom practice. My research questions were: 1. What are the informal learning activities of two Upstate New York area music
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