Lucy Green
UCL Institute of Education, Culture, Communication and Media, Faculty Member
- Lucy Green is Emerita Professor of Music Education at the UCL Institute of Education, London UK. She is international... moreLucy Green is Emerita Professor of Music Education at the UCL Institute of Education, London UK. She is internationally known for her work in music education, particularly in relation to new pedagogies, gender, ideology and the sociology of music. Her first four authored books are: Music on Deaf Ears: Musical Meaning, Ideology and Education (1988/2nd edition 2008), Music, Gender, Education (1997), How Popular Musicians Learn: A Way Ahead for Music Education (2001/paperback 2002) and Music, Informal Learning and the School: A New Classroom Pedagogy (2008). Her edited book, Learning, Teaching and Musical Identities: Voices Across Cultures came out in 2011, and a collection of her writings, Music Education as Critical Theory and Practice: Selected Essays, in 2014. Her teachers’ handbook, Hear, Listen, Play! How to Free Your Students' Aural, Improvisation and Performance Skills (2014) is a practical guide for teachers, bringing together work in classrooms, extra-curricular groups and instrumental tuition. Her last work was co-authored with Dr David Baker and is entitled Insights in Sound: Visually Impaired Musicians’ Lives and Learning (2017). Many of her publications have been translated, including works in several European languages, and Chinese. She has presented keynotes in countries around the world and serves on the Editorial Boards of numerous journals. Lucy developed and led the research and development project “Informal Learning in the Music Classroom” within the British movement “Musical Futures”, www.musicalfutures.org and this work is now being implemented in countries across the world - www.musicalfuturesinternational.org/. She holds an Honorary Doctorate from the University of Hedmark, Norway, for services to music education. Currently she is beginning work on a new project concerning self-accompanied singing. Research is in its very early stages but she has made a self-accompanied CD available on lucygreen.hearnow.com.edit
Research Interests: Psychology, Music Education, Musicology, Informal Learning, Popular Music, and 11 moreMusic Psychology, Autonomy, Curriculum, teaching Strategies, Informal music learning, Positive Affect, Curriculum and Pedagogy, Musical, Popular Music Education, Music: formal and informal learning, and Informal Music in Formal Education
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Research Interests: Sociology, Psychology, Music Education, Informal Learning, Leadership, and 14 moreEducational Research, Pedagogy, Group Dynamics, Imagination, Personal Identity, Alienation, Cooperation, Cooperative Learning, Identification, Informal Education, Group work, Curriculum and Pedagogy, Peer Groups, and Group Learning
Research Interests: Psychology, Music Education, Pedagogy, Curriculum, Informal Education, and 11 moreSinging, Teaching Methods, Informal music learning, Learning Process, Informal Learning in Traditional School Music Ensembles, Informal Music Teaching and Learning in Community, Music: formal and informal learning, Cooperative Learning In Music, Archaeology of Natural Places, Ear Playing, and Informal Music in Formal Education
Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through... more
Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through interpreting the findings of some questionnaire research, which was intended to tap teachers' common-sense and sometimes unspoken assumptions about gender, music and education. A considerable amount of both overt and implicit consensus between teachers is revealed. Questions are raised about the implications of such a consensus, both for the musical education of children, and for the musical roles of men and women. This article was originally written and published as a Research Report in the London University Institute of Education.
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Biblioteca de Educacion del Ministerio de Educacion, Cultura y Deporte; Calle San Agustin 5 -3 Planta; 28014 Madrid; Tel. +34917748000; biblioteca@mecd.es
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"Visually-impaired musicians' lives" (VIML) is funded by the Arts and Humanities Research Council (AHRC) at the Institute of Education, University of London, and has two partners, the Royal National Institute of Blind People... more
"Visually-impaired musicians' lives" (VIML) is funded by the Arts and Humanities Research Council (AHRC) at the Institute of Education, University of London, and has two partners, the Royal National Institute of Blind People (RNIB) and Royal Academy of Music, London. It is investigating the musical experiences of blind and partially-sighted people through life history interviews and an online survey. This encompasses instrumentalists, singers, composers and music teachers from amateurs to professionals, with respondents contributing from various countries (e.g. Argentina, Australia, Austria, Brazil, Burundi, Canada, Colombia, Denmark, Egypt, Estonia, Fiji, India, Indonesia, Italy, Japan, Kenya, Malaysia, New Zealand, the Philippines, Russia, the UK and USA). There are longstanding traditions of "blind musicianship" across the world, e.g. in Sierra Leone (Ottenberg, 1996), minstrelsy in the Ukraine (Kononenko, 1998) and in Japan (De Ferranti, 2009; Lubet, 2011; Groemer, 2012), to the early jazz of the US Southern States (Batterson, 1998; Southall, 1999; Harrah, 2004; Rowden, 2009; Fuqua, 2011). Prominent jazz and popular musicians in recent years, such as Ray Charles, George Shearing, Art Tatum and Stevie Wonder have, undoubtedly, amplified society's interest in visual impairment and music. This is clothed in "social lore" such as higher religious wisdom in itinerant minstrels or the assumption, on the part of many sighted people, that "in the absence of one sense another is augmented". Research, too, has explored notions of heightened musical cognitive and auditory capacities (e.g. Welch, 1988; Hamilton, Pascual-Leone & Schlaug, 2004; Melcher & Zampini, 2011; Dimatati et al., 2012). But, against this backdrop, what are the life experiences of today's visually-impaired musicians? This presentation will introduce some extraordinary musicians we have met. Themes of "accessibility" (e.g. of repertoire, music technology products, teaching practices), "independent mobility" (in relation to work) and "marginalisation" thread into these musicians' lives. Innovators combating the barriers they face will also be introduced: accessibility technology is sculpting the musical landscape for these people, yet also brings with it substantial challenges. With alternative score formats (e.g. Braille music, large print, modified stave notation, talking scores), musical learning processes differ too for the visually impaired, thus affecting genre choices and educational pathways. Drawing together the various threads, questions surrounding social inclusion in music-making will be raised.
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Visually-impaired musicians' lives and learning (VIML) is funded by the Arts and Humanities Research Council (AHRC) at the Institute of Education, University of London, and has two partners, the Royal National Institute of Blind People... more
Visually-impaired musicians' lives and learning (VIML) is funded by the Arts and Humanities Research Council (AHRC) at the Institute of Education, University of London, and has two partners, the Royal National Institute of Blind People (RNIB) and Royal Academy of Music, London. It is investigating the musical experiences of blind and partially-sighted people through life history interviews and an online survey. This encompasses instrumentalists, singers, composers and music teachers from amateurs to professionals, with respondents contributing from various countries (e.g. Argentina, Australia, Austria, Brazil, Burundi, Canada, Colombia, Denmark, Egypt, Estonia, Fiji, India, Indonesia, Italy, Japan, Kenya, Malaysia, New Zealand, the Philippines, Russia, the UK and USA). There are longstanding traditions of "blind musicianship" across the world, e.g. in Sierra Leone (Ottenberg, 1996), minstrelsy in the Ukraine (Kononenko, 1998) and in Japan (De Ferranti, 2009; Lubet, 2011; Groemer, 2012), to the early jazz of the US Southern States (Batterson, 1998; Southall, 1999; Harrah, 2004; Rowden, 2009; Fuqua, 2011). Prominent jazz and popular musicians in recent years, such as Ray Charles, George Shearing, Art Tatum and Stevie Wonder have, undoubtedly, amplified society's interest in visual impairment and music. This is clothed in "social lore" such as higher religious wisdom in itinerant minstrels or the assumption, on the part of many sighted people, that "in the absence of one sense another is augmented". Research, too, has explored notions of heightened musical cognitive and auditory capacities (e.g. Welch, 1988; Hamilton, Pascual-Leone & Schlaug, 2004; Melcher & Zampini, 2011; Dimatati et al., 2012). But, against this backdrop, what are the life experiences of today's visually-impaired musicians? This presentation will introduce some extraordinary musicians we have met. Themes of "accessibility" (e.g. of repertoire, music technology products, teaching practices), "independent mobility" (in relation to work) and "marginalisation" thread into these musicians' lives. Innovators combating the barriers they face will also be introduced: accessibility technology is sculpting the musical landscape for these people, yet also brings with it substantial challenges. With alternative score formats (e.g. Braille music, large print, modified stave notation, talking scores), musical learning processes differ too for the visually impaired, thus affecting genre choices and educational pathways. Drawing together the various threads, questions surrounding social inclusion in music-making will be raised.
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Este artigo e um resumo de alguns dos topicos mais importantes apresentados no livro da autora Music, Gender and Education. Trata-se, assim, de uma panorâmica e de um nivel de generalizacao quanto a normas em grande escala e a tendencias... more
Este artigo e um resumo de alguns dos topicos mais importantes apresentados no livro da autora Music, Gender and Education. Trata-se, assim, de uma panorâmica e de um nivel de generalizacao quanto a normas em grande escala e a tendencias da pratica musical que sao abordadas com mais detalhe no livro.
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Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through... more
Sexual difference expresses itself not only in the musical practices and tastes of boys and girls in schools, but also in teachers' discourse about pupils' musicality. The following article explores this discourse through interpreting the findings of some questionnaire research, which was intended to tap teachers' common-sense and sometimes unspoken assumptions about gender, music and education. A considerable amount of both overt and implicit consensus between teachers is revealed. Questions are raised about the implications of such a consensus, both for the musical education of children, and for the musical roles of men and women. This article was originally written and published as a Research Report in the London University Institute of Education.
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This article compares two very different GCSE compositions, and various ways to assess them. The type of emphasis which examination boards, teachers and moderators place upon different musical styles, and different musical skills, has... more
This article compares two very different GCSE compositions, and various ways to assess them. The type of emphasis which examination boards, teachers and moderators place upon different musical styles, and different musical skills, has radical consequences for the type of marks we are likely to allot; and the system of music education itself throws up some significant ironies concerning the future opportunities of candidates.
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This is the first book to focus on the role of education in relation to music and gender. Invoking a concept of musical patriarchy and a theory of the social construction of musical meaning, Lucy Green shows how women's musical... more
This is the first book to focus on the role of education in relation to music and gender. Invoking a concept of musical patriarchy and a theory of the social construction of musical meaning, Lucy Green shows how women's musical practices and gendered musical mean-ings have ...
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Music summer schools in the United Kingdom offer a holiday context for “serious leisure” for amateurs, and high-level tuition for aspiring professionals. The majority exist in distinct spaces for either the vocational or avocational... more
Music summer schools in the United Kingdom offer a holiday context for “serious leisure” for amateurs, and high-level tuition for aspiring professionals. The majority exist in distinct spaces for either the vocational or avocational musician; Dartington International Summer School is anomalous in that it is attended by amateur, aspiring professional and professional musicians. Theories of leisure as symbol, play, and the other, and Bahktin’s theory of the “carnivalesque” are used in this chapter as lenses to view participant experience. Mantie’s concept of the learner-participant dichotomy sheds light on the clashes and complementarity arising from the differing intentions of the participants. The chapter discusses how the leisure-learning context of the summer school impacts on participants’ musical identity, and can serve both to challenge and reinforce hierarchical status relationships between vocational and avocational musicians.
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Der Vergleich als konstitutives Element des Erkenntnisprozesses mit der Möglichkeit begrifflicher Differenzierung und/oder als Ordnungsverfahren macht ihn in vielen Wissenschaftsbereichen zur zentralen Methode. Die AMPF-Tagung 2010 im... more
Der Vergleich als konstitutives Element des Erkenntnisprozesses mit der Möglichkeit begrifflicher Differenzierung und/oder als Ordnungsverfahren macht ihn in vielen Wissenschaftsbereichen zur zentralen Methode. Die AMPF-Tagung 2010 im Kloster Frenswegen/Nordhorn widmete sich dem Vergleich in unterschiedlichen Gegenstandsbereichen. Die in diesem Band versammelten Beiträge dokumentieren eindrücklich seine hohe Relevanz in der musikpädagogischen Forschung, regen zu weiteren Untersuchungen an, machen aber gleichzeitig auf Desiderate aufmerksam. So weist beispielsweise der Gastbeitrag von Lucy Green auf die komplexe Bildung musikalischer Identitäten in einer globalisierten und glokalisierten Welt hin, die bisher zu wenig Berücksichtigung in der Musikpädagogik gefunden hat. (DIPF/Orig.)