Utilising these as a starting point, this thesis examines the complex relationship between such students’ informal learning and the dynamics of the formal classroom, through the lens of a multi-dimensional case study. Over the past decade, research has sought to qualify the nature of informal music learning, and develop classroom pedagogies that are believed to be more relevant to the study of popular music. Yet to date, these students’ experience of classroom study has not appeared to warrant research investigation, due in part at least to flexible curriculum structures facilitating practical learning, and generic frameworks for organising musical knowledge known as music ‘elements’ or ‘concepts’ that are believed to meet the needs of those with “informal learning” backgrounds (Board of Studies, 2009c, p.

Here curricular acknowledgement of the ‘non-literate’ musician at the senior secondary level dates back to the late 1970s (Board of Senior School Studies, 1977). The Australian context is well able to contribute to the global discussion that is underway in popular music education.

This thesis explores the field of classroom music education with the aim of foregrounding the learning experiences of students with established performance practices in popular music.

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