Lucy Green is Professor of Music Education in The Institute of Education, University of London, UK.

'If you want to teach popular music in schools then find out how successful popular musicians learn and apply these methods in the classroom. This blindingly simple insight has eluded much pedagogic practice to date. By innovatively theorising, demonstrating, and assessing the practical implementation of this, Lucy Green may have provided a manifesto for rebalancing classroom music teaching and setting it on a new and more fruitful track.' John Sloboda, FBA. Keele University. Author of The Musical Mind ’The book should be of interest to music educators, but also to teachers in any discipline as the ideas of the book can potentially be implemented in other educational settings than those concerned with music. Educators outside of the UK can also adopt such pedagogical strategies to their classroom, provided that they adapt the pedagogy so that it covers their curriculum content. The book should also be of interest to curriculum-designers and policy makers.’ Educate ’... this is a very important music education book, not only challenging established views and prejudices of music teaching, but also demonstrating how teachers could act to make a difference and work for change. Reading this book is a must for every music educator, not necessarily with the aim of copying every detail of the project, but to relate to, reflect and act upon in his/her ongoing music teaching. This project is also a very good example of praxis-based research. The thick descriptions and the sharp, well-structured analyses offer a great amount of valuable knowledge to researchers as well as educators.’ Music Education Research ’... the sophisticated and methodical analysis that Green brings to this work is a helpful illumination that should empower, promote and extend the activity of music educators across our schools.’ Journal of Music Technology and Education ’Viewed altogether, the Musical Futures initiative, the empirical authority and depth of this project, and finally

• Contents: Introduction; The project's pedagogy and curriculum content; Making music; Listening and appreciation; Enjoyment: making music and having autonomy; Group cooperation, ability and inclusion; Informal learning with classical music; Afterword; Appendices; Bibliography; Index.

Lucy Green is Professor of Music Education in The Institute of Education, University of London, UK.

'If you want to teach popular music in schools then find out how successful popular musicians learn and apply these methods in the classroom. This blindingly simple insight has eluded much pedagogic practice to date. By innovatively theorising, demonstrating, and assessing the practical implementation of this, Lucy Green may have provided a manifesto for rebalancing classroom music teaching and setting it on a new and more fruitful track.' John Sloboda, FBA. Keele University. Author of The Musical Mind ’The book should be of interest to music educators, but also to teachers in any discipline as the ideas of the book can potentially be implemented in other educational settings than those concerned with music. Educators outside of the UK can also adopt such pedagogical strategies to their classroom, provided that they adapt the pedagogy so that it covers their curriculum content. The book should also be of interest to curriculum-designers and policy makers.’ Educate ’... this is a very important music education book, not only challenging established views and prejudices of music teaching, but also demonstrating how teachers could act to make a difference and work for change. Reading this book is a must for every music educator, not necessarily with the aim of copying every detail of the project, but to relate to, reflect and act upon in his/her ongoing music teaching. This project is also a very good example of praxis-based research. The thick descriptions and the sharp, well-structured analyses offer a great amount of valuable knowledge to researchers as well as educators.’ Music Education Research ’... the sophisticated and methodical analysis that Green brings to this work is a helpful illumination that should empower, promote and extend the activity of music educators across our schools.’ Journal of Music Technology and Education ’Viewed altogether, the Musical Futures initiative, the empirical authority and depth of this project, and finally

• Contents: Introduction; The project's pedagogy and curriculum content; Making music; Listening and appreciation; Enjoyment: making music and having autonomy; Group cooperation, ability and inclusion; Informal learning with classical music; Afterword; Appendices; Bibliography; Index.

Lucy Green is Professor of Music Education in The Institute of Education, University of London, UK.

'If you want to teach popular music in schools then find out how successful popular musicians learn and apply these methods in the classroom. This blindingly simple insight has eluded much pedagogic practice to date. By innovatively theorising, demonstrating, and assessing the practical implementation of this, Lucy Green may have provided a manifesto for rebalancing classroom music teaching and setting it on a new and more fruitful track.' John Sloboda, FBA. Keele University. Author of The Musical Mind ’The book should be of interest to music educators, but also to teachers in any discipline as the ideas of the book can potentially be implemented in other educational settings than those concerned with music. Educators outside of the UK can also adopt such pedagogical strategies to their classroom, provided that they adapt the pedagogy so that it covers their curriculum content. The book should also be of interest to curriculum-designers and policy makers.’ Educate ’... this is a very important music education book, not only challenging established views and prejudices of music teaching, but also demonstrating how teachers could act to make a difference and work for change. Reading this book is a must for every music educator, not necessarily with the aim of copying every detail of the project, but to relate to, reflect and act upon in his/her ongoing music teaching. This project is also a very good example of praxis-based research. The thick descriptions and the sharp, well-structured analyses offer a great amount of valuable knowledge to researchers as well as educators.’ Music Education Research ’... the sophisticated and methodical analysis that Green brings to this work is a helpful illumination that should empower, promote and extend the activity of music educators across our schools.’ Journal of Music Technology and Education ’Viewed altogether, the Musical Futures initiative, the empirical authority and depth of this project, and finally

• Contents: Introduction; The project's pedagogy and curriculum content; Making music; Listening and appreciation; Enjoyment: making music and having autonomy; Group cooperation, ability and inclusion; Informal learning with classical music; Afterword; Appendices; Bibliography; Index.