What is the constant desired outcome of the teacher/practitioner in Musical Futures?

• To make music learning as theoretical as possible

• To make music learning a solo activity

• To make music learning as practical an activity as possible

• To make music learning a teacher-centered activity

What is the philosophy shift seen in the approaches categorized as 'non-formal teaching'?

• Moving towards a more casual approach to music

• Focusing on the context rather than the music leaders

• Finding a unifying practice common to a variety of music leaders

• Emphasizing the importance of formal music education

What is one of the non-cognitive skills that can be developed through non-formal music teaching according to the text?

• Mathematical reasoning

• Responsibility

• Linguistic proficiency

• Historical analysis

What does the text suggest is a key factor in the success of group workshops in community music?

• The use of advanced technology

• The charisma of the music leader

• Strict adherence to musical theory

• Individual practice sessions

What do the resources mentioned in the 'Getting Started' section aim to provide?

• A strict set of instructions for music teaching

• A framework rather than a rigid set of instructions

• A focus on formal music education

• A guide for solo musical performances

What is the primary goal of the "Guide to Classroom Workshopping" section?

• To provide a detailed history of the Guildhall School of Music and Drama

• To introduce teachers to the process of large-group composition

• To offer a strict methodology for music composition

• To showcase individual music performances

What is emphasized as an important principle in the methodology described in the material?

• The need for technical perfection in music

• The importance of adhering to traditional teaching methods

• The creative demands placed on musicians and music leaders

• The requirement to use only classical music compositions

What is the trade-off for the sense of freedom, ownership, and creativity in classroom workshopping as mentioned in the text?

• The need for a standard instrumental group

• The requirement for musical starting points to be pre-requisites

• The challenge of bringing together a non-standard instrumental group

• The necessity for students to bring their own instruments

According to the text, what should not be equated with 'anything goes' in the context of classroom workshopping?

• Freedom

• Creativity

• Ownership

• Musical exercises

What is the ultimate aim for music evolving and developing in a workshop, as stated in the text?

• To repeat the first thing that comes to mind

• To follow the written instructions strictly

• To change, develop, and discard anything that is written

• To create projects that are unique to your students