Cover -- Contents -- General Editor's preface -- Acknowledgements -- 1 Introduction -- The aims and rationale of this book -- Background research: how popular musicians learn -- The underlying principles of the project -- The project in historical perspective -- Research methods -- The beginning, and the ends, of the project -- 2 The Project's Pedagogy and Curriculum Content -- Stages 1-7: overall pedagogy and content -- Teachers' initial responses and the apparent conflict with official approaches -- The role of the teacher: an overview -- The start of Stage 1: chaos, its aftermath and the questions it raised -- 3 Making Music -- Social distinction and the emergence of 'natural music learning practices' -- Listening, choosing and beginning to copy: an example from the first lesson -- Listening and choosing the song -- Singing -- A note on the availability of instruments in the classrooms -- Playing untuned percussion -- Finding pitches on instruments -- Progression: getting worse before you get better -- The authority of the CD as distinct from the authority of the teacher -- 'Flow' and 'play' -- 'Feel' and 'musicking' -- A note on musical composition, improvisation and creativity -- What counts as learning in music-making? Pupils' and teachers' views of thelearning outcomes -- 4 Listening and Appreciation -- Pupils' musical vocabulary -- Pupils' aural approaches to the task: purposive listening -- The further development of pupils' listening capacities -- Listening beyond the project -- Music appreciation -- The progression of listening and appreciation through Stages 1-5 -- Music appreciation and the development of 'critical musicality' -- Teachers' views on listening -- Listening, musical meaning and experience in the classroom -- 5 Enjoyment: Making Music and having Autonomy -- Bobby's group: ''cause it was boring'.

Enjoyment, 'fun' and the 'normal' curriculum: learner autonomy and curriculum choice -- Learner autonomy and pedagogy -- Stage 2 and on -- Enjoyment, motivation and application: teachers' expectations and views -- 6 Group co-operation, ability and inclusion -- Group learning and peer-directed learning in the music classroom -- Group co-operation, group learning and peer-directed learning as learning outcomes -- Ability, achievement and differentiation -- Disaffected pupils -- 7 Informal Learning with Classical Music -- The rationale, pedagogy and curriculum content of Stages 6 and 7 -- Pupils' views of classical music -- Observations and interviews in Stages 6 and 7 -- Did pupils' views of classical music change? -- The 'normal curriculum', classical music and 'other' music -- Teachers' views of the classical stages -- Why did pupils' views of classical music change? -- 8 Afterword -- Appendix A: Information about schools -- Appendix B: The project stages in brief -- Bibliography -- Index.