How Popular Musicians Learn

Foreword ix Robert Fripp Acknowledgements xi What is it to be musically educated? 1(20) Research methods 8(9) Concluding thoughts 17(4) Skills, knowledge and self-conceptions of popular musicians: the beginnings and the ends 21(38) The `beginnings' 22(6) Professional musicianship: the `ends' 28(17) Some self-conceptions of popular musicians 45(14) Learning to play popular music: acquiring skills and knowledge 59(40) The overriding learning practice: listening and copying 60(16) Peer-directed learning and group learning 76(8) Acquiring technique 84(2) Practice 86(7) Acquiring knowledge of technicalities 93(3) Summary 96(3) Attitudes and values in learning to play popular music 99(28) Discipline and osmosis 99(5) Enjoyment 104(3) Valuing musicianship 107(10) Valuing oneself 117(4) Attitudes to `other' music 121(3) Summary 124(3) Popular musicians in traditional music education 127(24) Classical instrumental tuition 127(8) Traditional classroom music education 135(13) Summary 148(3) Popular musicians in the new music education 151(26) Popular music instrumental tuition 151(4) The new classroom music education 155(12) Popular music in further and higher education 167(5) The musicians' views of popular music in formal education 172(3) Summary 175(2) The formal and the informal: mutual reciprocity or a contradiction in terms? 177(42) The neglect of informal learning practices in formal music education 177(8) Informal learning practices, attitudes and values: their potential for the formal sphere 185(29) What can teachers do? 214(5) Appendix: Summary profiles of the musicians 219(2) Bibliography 221(12) Index 233