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Author:   Imogen Morris ,  Nancy November
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Weight:   0.510kg
ISBN:  

9781041217107

ISBN 10:   1041217102
Pages:   176
Publication Date:   11 March 2026
Audience:   Professional and scholarly ,  College/higher education ,  Professional & Vocational ,  Postgraduate, Research & Scholarly
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

Introduction: Participatory Music-Making and Dismantling the Amateur-Professional Binary Imogen Morris and Nancy November Part 1: Reframing Pedagogy: From Transmission to Relationship 1. Between Performance and Participation: Finding a “Middle Ground” in Studio Pedagogy to Foster “Amateuring” in the Best Sense Graham McPhail and Nancy November 2. A Letter to the Master: How Can I Help You Teach Me Better? Te Oti Rakena Part 2: Institutions that Make (and Can Unmake) the Binary 3. From Elitism to Amateuring? Transitions in the New Zealand Secondary School Music Curriculum Graham McPhail 4. Graded Music Exams in Aotearoa New Zealand, Part 1: Addressing the Amateur-Professional Binary via Exam Syllabuses Morag Atchison and Imogen Morris 5. Graded Music Exams in Aotearoa New Zealand, Part 2: Representation in Exam Syllabuses Morag Atchison and Imogen Morris Part 3: Communities of Practice and Participatory Musicking 6. Formal and Informal Teaching in the Old-Time and Shape-Note Communities of Practice Esther M. Morgan-Ellis 7. Community Choirs: Doing It Badly? Kate Bell 8. Teaching the Disney Canon: Choral Arrangements for Pedagogy and Performance Gregory Camp

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Author Information

Imogen Morris is a postdoctoral fellow and instrumental teacher for recorder at the University of Auckland, and completed her PhD in 2022 at the same institution. Outside the university, she is a freelance performer and teaches recorder at music schools across Auckland. Nancy November is a Professor of Musicology at the University of Auckland's School of Music. Combining interdisciplinarity and cultural history, her research centers on chamber music of the late eighteenth and nineteenth centuries, together with work on culturally sustaining pedagogies.

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