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dc.contributor.authorLebler, Donen_US
dc.contributor.editorSarah Hennessyen_US
dc.date.accessioned2017-05-03T13:15:40Z
dc.date.available2017-05-03T13:15:40Z
dc.date.issued2008en_US
dc.date.modified2009-12-04T05:21:35Z
dc.identifier.issn14613808en_US
dc.identifier.doi10.1080/14613800802079056en_AU
dc.identifier.urihttp://hdl.handle.net/10072/26123
dc.description.abstractThe inclusion of popular music as a content area in music education is not uncommon. The musicological study of popular music is well established in higher education, and even the practice of popular music is becoming more common in both secondary education and the post-compulsory sector. However, when this occurs, it is likely to be taught in more or less the same way as other more established content areas like western classical music or jazz, with teachers being in control of the process and the curriculum, the feedback and the assessment. But popular music is usually learned in the broader community as a self-directed activity, sometimes including interactions with peers and group activities, but rarely under the direction of an expert mentor/teacher. One Australian conservatorium has adopted the pedagogy of popular music through the creation of a scaffolded self-directed learning environment within its bachelor of popular music program. This paper argues that the pedagogical approach employed in this program relates well to the prior learning activities of its students. It draws on the results of a survey of the learning experiences of students before they entered this program, as a background to subsequent research into their participation in two course activities that provide opportunities for the provision feedback to peers. The study draws on data from surveys, on-line participation in the provision of work-in-progress feedback, and written feedback provided as part of formal assessment. Students are found to have usually engaged with multiple musical activities and used a variety of ways to enhance their musical abilities before commencing their conservatoire studies. These characteristics are also found to be present in students' engagement with their degree studies. The paper concludes that these students are well prepared for this kind of peer learning activity and provide useful feedback through the structures provided by the program.en_US
dc.description.peerreviewedYesen_US
dc.description.publicationstatusYesen_AU
dc.format.extent299415 bytes
dc.format.mimetypeapplication/pdf
dc.languageEnglishen_US
dc.language.isoen_AU
dc.publisherRoutledgeen_US
dc.publisher.placeUnited Kingdomen_US
dc.publisher.urihttp://www.tandf.co.uk/journals/carfax/14613808.htmlen_AU
dc.relation.ispartofstudentpublicationNen_AU
dc.relation.ispartofpagefrom193en_US
dc.relation.ispartofpageto213en_US
dc.relation.ispartofissue2en_US
dc.relation.ispartofjournalMusic Education Researchen_US
dc.relation.ispartofvolume10en_US
dc.rights.retentionYen_AU
dc.subject.fieldofresearchcode339999en_US
dc.titlePopular music pedagogy: peer learning in practiceen_US
dc.typeJournal articleen_US
dc.type.descriptionC1 - Peer Reviewed (HERDC)en_US
dc.type.codeC - Journal Articlesen_US
gro.facultyArts, Education & Law Group, Queensland Conservatoriumen_US
gro.rights.copyrightCopyright 2008 Taylor & Francis. This is the author-manuscript version of the paper. Reproduced in accordance with the copyright policy of the publisher.Please refer to the journal link for access to the definitive, published version.en_AU
gro.date.issued2008
gro.hasfulltextFull Text


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    Contains articles published by Griffith authors in scholarly journals.

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