This collection of previously published articles, chapters and keynotes traces both the theoretical contribution of Lucy Green to the emergent field of the sociology of music education, and her radical 'hands-on' practical work in classrooms and instrumental studios. The selection contains a mixture of material, from essays that have appeared in major journals and books, to some harder-to-find publications. It spans issues from musical meaning, ideology, identity and gender in relation to music education, to changes and challenges in music curricula and pedagogy, and includes Green's highly influential work on bringing informal learning into formal music education settings. A newly-written introduction considers the relationship between the...
The current music education paradigm may be considered an oppressive experience for both students an...
A sociological analysis of curriculum development in music education in England shows a frustrating ...
The paper argues that the contemporary model of musical education, as we know it today, has been sha...
This article explores the work of Lucy Green in terms of the application of her research to practice...
This article explores the work of Lucy Green in terms of the application of her research to practice...
Drawing on a theoretical background from the sociology of education, this paper considers the work o...
From the contributions of critical pedagogy, this article develops the pedagogical discourse and pra...
When expressing the phrase music lessons, one often visualizes students with their musical instrumen...
This paper proposes a Critical Pedagogy for Music Education (CPME) and shows how the tenets of CPME ...
While the genuine critical music education of the 1960ies and 1970ies has more or less vanished, the...
This paper proposes a Critical Pedagogy for Music Education (CPME) and shows how the tenets of CPME ...
This paper describes a best teaching practice called Critical Pedagogy for Music Education as it inf...
This article looks at critical theory as a post-modern philosophical foundation for a sixth grade ge...
Sociology and Music Education addresses a pressing need to provide a sociological foundation for un...
Music education scholarship has long called for a more critical, socially just approach to teacher p...
The current music education paradigm may be considered an oppressive experience for both students an...
A sociological analysis of curriculum development in music education in England shows a frustrating ...
The paper argues that the contemporary model of musical education, as we know it today, has been sha...
This article explores the work of Lucy Green in terms of the application of her research to practice...
This article explores the work of Lucy Green in terms of the application of her research to practice...
Drawing on a theoretical background from the sociology of education, this paper considers the work o...
From the contributions of critical pedagogy, this article develops the pedagogical discourse and pra...
When expressing the phrase music lessons, one often visualizes students with their musical instrumen...
This paper proposes a Critical Pedagogy for Music Education (CPME) and shows how the tenets of CPME ...
While the genuine critical music education of the 1960ies and 1970ies has more or less vanished, the...
This paper proposes a Critical Pedagogy for Music Education (CPME) and shows how the tenets of CPME ...
This paper describes a best teaching practice called Critical Pedagogy for Music Education as it inf...
This article looks at critical theory as a post-modern philosophical foundation for a sixth grade ge...
Sociology and Music Education addresses a pressing need to provide a sociological foundation for un...
Music education scholarship has long called for a more critical, socially just approach to teacher p...
The current music education paradigm may be considered an oppressive experience for both students an...
A sociological analysis of curriculum development in music education in England shows a frustrating ...
The paper argues that the contemporary model of musical education, as we know it today, has been sha...