LEADER 04050nam 2200601 450 001 9910453440303321 005 20200520144314.0 010 $a0-19-999578-8 035 $a(CKB)2550000001180231 035 $a(EBL)1591049 035 $a(SSID)ssj0001084486 035 $a(PQKBManifestationID)12445429 035 $a(PQKBTitleCode)TC0001084486 035 $a(PQKBWorkID)11047941 035 $a(PQKB)11300816 035 $a(MiAaPQ)EBC1591049 035 $a(Au-PeEL)EBL1591049 035 $a(CaPaEBR)ebr10825606 035 $a(CaONFJC)MIL560345 035 $a(OCoLC)867929576 035 $a(EXLCZ)992550000001180231 100 $a20140115d2014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aHear, listen, play! $ehow to free your student's aural, improvisation and performance skills /$fLucy Green 210 1$aNew York :$cOxford University Press,$d2014. 210 4$dİ2014 215 $a1 online resource (151 p.) 300 $aDescription based upon print version of record. 311 $a0-19-999576-1 311 $a1-306-29094-5 320 $aIncludes bibliographical references. 327 $aCover; Contents; Acknowledgements; Note on the Text; Note on the Companion Website; Introduction; How could informal learning practices relate to formal music education?; The organisation and use of the handbook; The audio materials: an overview; Why informal learning?; Why popular music?; How do popular musicians learn?; PART 1 HeLP IN INSTRUMENTAL SETTINGS; 1 Introduction; 2 HeLP in instrumental settings: preliminary practicalities; 3 HeLP in instrumental settings: the basic steps; 4 some possible combinations and orders of stages: instrumental tuition; 5 How are students likely to respond? 327 $a6 Teaching strategies: the role of the teacher in instrumental settings7 What were the overall views of the participants?; PART 2 HeLP IN ENSEMBLE SETTINGS: BANDS, ORCHESTRAS, AND OTHER GROUPS; 8 Introduction; 9 HeLP in ensemble settings: preliminary practicalities; 10 HeLP in ensemble settings: the basic steps; 11 How are students likely to respond?; 12 Teaching strategies: the role of the teacher in HeLP ensemble settings; 13 What were the overall views of the participants?; PART 3 HeLP IN CLASSROOM SETTINGS; 14 Introduction; 15 HeLP in classroom settings: preliminary practicalities 327 $a16 HeLP in classroom settings: the basic steps17 some possible combinations and orders of stages: the classroom context; 18 How are students likely to respond?; 19 Teaching strategies: the role of the teacher in HeLP classroom settings; 20 What were the overall views of the participants?; APPENDICES; Appendix A: Findings from an aural test experiment; Appendix B: The research behind this handbook; Appendix C: Related work on informal music learning and formal music education; Appendix D: Websites; Appendix E: Audio track list; Appendix F: Recording credits 330 $aHear, Listen, Play! is a book for all music teachers who are unfamiliar with, yet curious about the worlds of ear-playing, informal learning, improvisation, and vernacular musics. For decades, or even hundreds of years, a divide has slowly been developing between the realms of notation-based musical transmission, and aural/oral methods. Yet that divide is by no means a necessary aspect of music learning, and musicians who are lucky enough to dwell on both sides of it count themselves as so much the richer for doing so. This book aims to provide a door into those other worlds for any teacher wh 606 $aMusic$xInstruction and study 606 $aImprovisation (Music) 608 $aElectronic books. 615 0$aMusic$xInstruction and study. 615 0$aImprovisation (Music) 676 $a780.71 700 $aGreen$b Lucy$0853802 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910453440303321 996 $aHear, listen, play$92054019 997 $aUNINA