Rogers, P.J. (1979) London: The Historical The New History: Theory into Practice. Association. Royal Society for the Arts (RSA) (n.d.) [Online.] Retrieved from: Opening Minds? http://www.rsaopeningminds.org.uk/ Royal Society for the Arts (RSA) (2005) How Special Are Subjects? Are They the Best Way London: Royal Society for the Arts. to Structure a Curriculum or Can We Do Better? Sexton, F. (2012). Practitioner challenges working with informal learning pedagogies. British 7-11. Journal of Music Education, 29(01), Shemilt, D. (1980). Edinburgh: Holmes McDougall. History 13-16 Evaluation Study. Shemilt, D. (1983). Devil's Locomotive’, 22 (4), Beiheft 22, The History and Theory, ‘The Philosophy of History Teaching, pp. 1-18. Shuter, P. and Child, J. (1987). London: Heinemann Skills in History, Book 1, Changes. Education. Söderman, J., & Folkestad, G. (2004). How hip-hop musicians learn: Strategies in informal creative music making. 6(3), 313-326. Music education research, Van Drie, J. and Van Boxtell, C. (2008) Reasoning: Towards a Framework ‘Historical for Analyzing Students’ Reasoning about the Past’, 20 (2), Educational Psychology Review, 87-110 Williams, W.C. (1995) (revised edn), New York: New Directions. Patterson Wineburg, S. (2001). Historical Thinking and Other Unnatural Acts: Charting the future of Philadelphia: Temple University Press.. teaching the past. Wineburg, S. (2007). and essential: the nature of historical thinking’, in Teaching ‘Unnatural 129, pp.6-11. History, Wright, R. (2008). Thinking globally, acting locally: Informal learning and social justice in music education. Paper presented at International Society of Music Education, World 20-25 July 2008, in Bologna, Italy. Conference,
Rogers, P.J. (1979) The New History: Theory into Practice. London: The Historical Association. Royal Society for the Arts (RSA) (n.d.) Opening Minds? [Online.] Retrieved from: http://www.rsaopeningminds.org.uk/ Royal Society for the Arts (RSA) (2005) How Special Are Subjects? Are They the Best Way to Structure a Curriculum or Can We Do Better? London: Royal Society for the Arts. Sexton, F. (2012). Practitioner challenges working with informal learning pedagogies. British Journal of Music Education, 29(01), 7-11. Shemilt, D. (1980). History 13-16 Evaluation Study. Edinburgh: Holmes McDougall. Shemilt, D. (1983). ‘The Devil's Locomotive’, History and Theory, 22 (4), Beiheft 22, The Philosophy of History Teaching, pp. 1-18. Shuter, P. and Child, J. (1987). Skills in History, Book 1, Changes. London: Heinemann Education. Söderman, J., & Folkestad, G. (2004). How hip-hop musicians learn: Strategies in informal creative music making. Music education research, 6(3), 313-326. Van Drie, J. and Van Boxtell, C. (2008) ‘Historical Reasoning: Towards a Framework for Analyzing Students’ Reasoning about the Past’, Educational Psychology Review, 20 (2), 87-110 Williams, W.C. (1995) Patterson (revised edn), New York: New Directions. Wineburg, S. (2001). Historical Thinking and Other Unnatural Acts: Charting the future of teaching the past. Philadelphia: Temple University Press.. Wineburg, S. (2007). ‘Unnatural and essential: the nature of historical thinking’, in Teaching History, 129, pp.6-11. Wright, R. (2008). Thinking globally, acting locally: Informal learning and social justice in music education. Paper presented at International Society of Music Education, World Conference, 20-25 July 2008, in Bologna, Italy.
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