This pioneering book reveals how the music classroom can draw upon the world of popular musicians informal learning practices; so as to recognize and foster a range of musical skills and knowledge that have long been overlooked within music education. It investigates how far informal learning practices are possible and desirable in a classroom context; how they can affect young teenagers musical skill and knowledge acquisition.
#429017 in eBooks 2013-01-22 2013-01-22File Name: B00AW54DI8
Review
0 of 0 people found the following review helpful. A must read.By Pya VerrettThese are real people with complex lives in Accra (the capital city of Ghana); trying to turn something they love into a viable living. They find connections to the lyrics and sound of NYC mcs but also formulate their aspirations in relation to the successes of the big names in American hip hop. They face challenges of gender; class; and mobility specific to the Ghanaian context. Shipley has lived with the artists; radio hosts; djs; beatmakers; and producers of extraordinary talent in many cases; sometimes with little formal education; sometimes very well educated; sometimes parochial; mostly cosmopolitan. You find yourself pulling for the characters in Shipleys book; Reggie Rockstone; MzBel; M3nsa; and others; the most sympathetic of whom is; in some way; the city that they are all moving through.0 of 0 people found the following review helpful. this is a great read.By Nate Ash-MorganIf you want to learn about how popular music in Ghana and Africa more broadly developed; this is a great read.0 of 0 people found the following review helpful. Global CultureBy loveshistoryLiving the Hiplife invites a new understanding of the Global. It shows how major local icons achieve global reach with their art forms through the channels of emigration and diaspora. Its also an offbeat contribution to economic history; showing young African entrepreneurs operating in (1) informal economies; (2) the growing semi-formal economy of electronic self-promotion and sales; and (3) formal economic mechanisms of records labels; promoters; etc. Theres something for specialists in cultural anthropology; undergrads; and anyone interest in the back-story of contemporary culture.