Lucy Green

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Lucy Green, FBA (born 1957) [1] is an Emerita Professor of Music Education at the UCL Institute of Education, UK. [2] She had a key role in bringing the informal learning practices of popular and other vernacular musicians to the attention of music-educators, thus transforming classroom practice. [3] [4] [5] [6] [7]

Contents

Biography

Professor Green studied music and education at Homerton College, University of Cambridge; then taking a Masters in Music and a Doctorate in Music Education at Sussex University. She taught the piano during her post-graduate studies and became a school music teacher and Head of Music in secondary education. She joined the Institute of Education (now part of University College London) in 1990, where she taught on initial teacher education courses, masters and doctoral degrees. She has been Professor of Music Education there since 2004. [2] [8] Professor Green joined Isleworth Baroque (now Richmond Opera) in 2009, initially as a singer and later producing and directing several productions. [9] [10]

Professional work

Professor Green's study of how popular musicians learn, and her initial ideas for how their learning practices can be translated into formal music education [11] has been described as a watershed in music education. [12] Building on this work, Professor Green led the Informal Learning Pathfinder of the UK project, Musical Futures which took central characteristics of informal music learning methods and adapted them to classroom environments. [13] This change in teaching approaches resulted in a rise in student motivation. [14] [15] [16] Subsequently, she developed similar pedagogies for the specialist instrumental lesson. [17] In 2016 Musical Futures was placed in the Top 100 Global Educational Innovations by the Finnish organisation ‘HundrED’. [18]

Professor Green's work is used in schools and teacher-training programmes in the UK, [14] [19] [20] [21] USA, [4] [22] [23] Canada, [16] [24] Australia, [15] Singapore, Brazil, Cyprus and elsewhere. [25] Her work has also been influential in other areas of the sociology of music education, particularly concerning gender, [26] [27] musical meaning and ideology, and popular music pedagogy. Professor Green has more recently co-authored with Dr David Baker the results of research into the lives and learning of blind and partially-sighted musicians. [28] Her publications have been translated into Spanish, Portuguese, German, Italian, Greek, Swedish, Dutch, and Chinese.

Awards and honours

Honorary Doctorate for Services to Music Education, University of Hedmark, Norway in 2014.

On 22 July 2022, Green was elected a Fellow of the British Academy (FBA), the United Kingdom's national academy for the humanities and social sciences. [29]

Bibliography

2001, published in Spanish as Musica, Género y Educación, Ediciones Morata, ISBN   84-7112-454-8
published in a revised second edition: Bury St. Edmunds: Abramis Publishing

Related Research Articles

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Popular music pedagogy

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References

  1. ↑ "Lucy Green British Academic". Virtual International Authority File. Retrieved 3 September 2017.
  2. 1 2 "Q&A with Professor Lucy Green". UCL Institute of Education. Retrieved 3 September 2017.
  3. ↑ Cain, Tim (2013). "Passing it on": beyond formal or informal pedagogy. Music Education Research, Vol. 15, no. 1, pp. 74–91.
  4. 1 2 Jaffurs, S. E. (2004). The impact of informal music learning practices in the classroom, or how I learned how to teach from a garage band. International Journal of Music Education, Vol. 22, no. 3, pp. 189 –200.
  5. ↑ ACT Special issue (2009). Action, Criticism and Theory in Music Education, on Lucy Green’s book, Music, Informal Learning and the School. Vol. 8, no. 2, ISSN 1545-4517.
  6. ↑ BJME Special issue (2010). Special Issue on informal learning and Higher Education in music. British Journal of Music Education, Vol. 27, no. 1, ISSN 0265-0517.
  7. ↑ VRME Special issue (2008). Visions of Research in Music Education, Vol, 12: Beyond Lucy Green: Operationalizing Theories of Informal Music Learning. Panel Presentation, American Educational Research Association Conference 2008, New York, NY.
  8. ↑ "Prof Lucy Green". UCL Institutional Research Information Service. Retrieved 3 September 2017.
  9. ↑ "Solomon - Isleworth Baroque". London Opera Notes. Retrieved 7 June 2020.
  10. ↑ "Review by Alan Gibbs of Handel's Semele 2015". Isleworth Baroque. Retrieved 7 June 2020.
  11. ↑ Green, L (2001). How Popular Musicians Learn: A Way Ahead For Music Education. London and New York: Ashgate Press, ISBN   0 7546 0338 5.
  12. ↑ Dunbar-Hal, P (2002). Book Review: How Popular Musicians Learn: A Way Ahead for Music Education. Research Studies in Music Education, Vol 18, Issue 1, pp 79-82, DOI: https://doi.org/10.1177/1321103X020180010901
  13. ↑ "Background". Musical Futures. Retrieved 3 September 2017.
  14. 1 2 Hallam S, Creech A, Sandford C, Rinta T and Shave K (2008). Survey of Musical Futures: A Report from Institute of Education University of London. Paul Hamlyn Foundation.
  15. 1 2 Jeanneret N, McLennan R and Stevens-Ballenger J (2011). Musical Futures: An Australian Perspective: Findings from a Victorian Pilot Study. University of Melbourne.
  16. 1 2 Wright, R (2011). Musical Futures: a new approach to music education. Canadian Music Educator, Vol. 53, no. 2, pp. 19–21.
  17. ↑ "Ear Playing Project". Department of Arts and Humanities, Institute of Education. Retrieved 3 September 2017.
  18. ↑ "Musical Futures". HundrED. Retrieved 3 September 2017.
  19. ↑ Andrews, K (2013). Standing “on our own two feet”: a comparison of teacher-directed and group learning in an extra-curricular instrumental group. British Journal of Music Education, CJO 2012.
  20. ↑ Gower, A (2012). Integrating informal learning approaches into the formal learning environment of mainstream secondary schools in England. British Journal of Music Education, Vol. 29, no. 1, pp. 13–18.
  21. ↑ Price, D (2006). Personalising Music Learning. Paul Hamlyn Foundation.
  22. ↑ Abrahams F, Abrahams D, Rafaniello A, Vodicka J, Westawski D, Wilson J (2011) . Going Green: the application of informal music learning strategies in high school choral and instrumental ensembles.
  23. ↑ Paparo, S A (2013). The Accafellows: exploring the music making and culture of a collegiate a cappella ensember. Music Education Research, Vol. 15, no. 1, pp. 19–38.
  24. ↑ Wright, R (2012). Tuning into the future: sharing initial insights about the 2012 Musical Futures Pilot Project in Ontario. Canadian Music Educator, Vol. 53, no. 4, pp. 14–18.
  25. ↑ McPhail, G (2012). Knowledge and the curriculum: music as a case study in educational futures. New Zealand Journal of Educational Studies, Vol. 47, no. 1, pp. 33–45.
  26. ↑ Björck, C (2011). Freedom, Constraint, or Both? Readings on Popular Music and Gender. Action, Criticism and theory in Music Education.
  27. ↑ Legg, R (2010). "One equal music": an exploration of gender perceptions and the fair assessment by beginning music teachers of musical compositions. Music Education Research 12, pp 141-159.
  28. ↑ Baker D, Green L (2017). 'Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians . Department of Culture, Communication and Media, UCL Institute of Education, London, url=http://discovery.ucl.ac.uk/1476645/1/Baker%2C%20D.%20and%20Green%2C%20L.%2C%20RSME%2C%20accepted%20for%20publication.pdf
  29. ↑ "Record number of women elected to the British Academy". The British Academy. 22 July 2022. Retrieved 14 August 2022.
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