According to Rice (1994), engaging in traditional music is synonymous with interaction through social and cognitive processes. A precondition, of course, is for the individual to experience the tradition through his participation and personal interaction. Given that traditional instruments are inextricably linked to the society of the time, as they reflect the social and cultural context, while at the same time forming a new one, it is important to understand the context in which a musical instrument functioned and its role in society and how this instrument looks like in modern society before he decides to teach.

The integration of traditional music in modern educational contexts is of particular interest to researchers. They explore how it can be taught, as it is a tradition that the transmission of musical knowledge is based on orality. Recent research in Ethnomusicology and Music Pedagogy seems to agree that orality is one of the key features of many musical traditions (Dionysiou, 2016). It is therefore reasonable to conclude that despite the fact that the teaching of traditional instruments can be "hosted" in a formal context, we cannot speak exclusively of formal music education due to its nature.

If we look at the path of traditional musical instruments in the rural societies of the past centuries we find that, as the musician played the apprentice was called to see, hear and then imitate the musician (Floraki, 2019), who served the purposes of the teacher but not with a standard procedure, as we are used to nowadays. Nowadays the teaching of traditional instruments in schools, higher education, private schools and conservatories is organized around methods inspired by non-formal musical learning, either individually or in groups, taking as a model teaching, learning and self-learning and learning in ensemble (Hadjipetrou-Andronikou, 2016) and as a teaching method teaching by ear, based on listening, observation and imitation (Floraki, 2019). Although the choices of a music teacher are greatly influenced by how he or she perceives the concept of musicality (Rodriguez, 2004), traditional music, as Rice (1994) notes, seems to be learned but cannot be taught through organized lessons.

The ultimate goal is to have a coupling between the inherent orality of the Greek musical traditions and the norms of the school context, in order to achieve the goals and needs of the new teaching and learning conditions. The purpose of this research is to investigate the teaching practices used by the teachers of pear-shaped lyre and the methods they use. Data were collected by five semi-structured interviews of lyre teachers (Cretan, Macedonian), after observing three one by one instrument lessons. In this presentation, emphasis will be placed on the case of the Macedonian lyre. From the transcribed recordings of the interviews emerged verbal data from which it appeared that some teachers choose the notation but also the imitation, while efforts are made for writing and creating a Cretan lyre method. In the case study of the Macedonian lyre, the lyre player is observed to choose exclusively the oral learning without the use of notation, as well as the utilization of recorded material.

• Η μουσική διδασκαλία-μάθηση σε τυπικά, μη τυπικά και άτυπα περιβάλλοντα
• Διδακτική μουσικών οργάνων και μουσικών συνόλων: φιλοσοφία, μεθοδολογίες και καλές πρακτικές

A graduate of the Pedagogical Department of Primary Education of the Democritus University of Thrace and with origin from Alexandroupolis, she pursued postgraduate studies in Music Education in formal and informal settings. Instrument player of lyra of Thrace, while studying at the Department of Music Studies of Ioannina and holds advanced theoretical knowledge of western music (Counterpoint, Armonia). She works as a Primary education teacher in Athens with experience in the context of formal and non-formal education and creative leisure activities.