No not ‘self-directed learning’ but ‘self-organised learning’ and ‘child-driven education’. This is the brainchild of Sugata Mitra. See http://egwestcentre.com/research/holeinthewall/ 
Mitra fundamentally reconfigures education, what it is for and changes who the teacher is, if not making such a person redundant.
Those readers who are future-minded will be interested to find out more while those critical of 21st century this and that education may well be outraged.
In response I write about the great pleasure evident in being a music teacher and what might be a case of ‘teacher-organised learning’.
Tuesday morning year 9 lesson three and I learn that ‘The Shining’ is a Stanley Kubrick horror film that makes use the third movement of Bartok’s Music for Strings, Percussion and Celeste, an example of Bartok’s ‘Night music’ genre. 
Drawing from the Bartok the class know about how glissandi, silence, trills, atonal melody, lack of pulse and throw in that tantalising tri-tone can become signifiers.
The class are mid-way through their Film Music course, which forms their timetabled music education in year 9. Lessons are eighty minutes and run for half the year.
Film music is one of three options alongside Popular Music and Musical Performance.
Half a year and eighty minute lessons, so plenty of scope for a thoughtful unfolding of the practical knowledge that serves making and thinking about music for film. 
The film Shining, as the teacher takes care to emphasise, is entirely inappropriate viewing for year 9, yet the extract that has been isolated for study does provide an appropriate stimulus for pupils to make their own tracks and understand more about film music.
In this school it’s all Ipads with links to Garage Band and there’s something about Irig that I don’t understand.
This particular work comes about half way through the course which will conclude with the synchronous making of a film and its music.
The teacher is of the conversational kind taking care to confirm the presence of each pupil, showing that each is known as a musical person.
Beyond the appraisal of the musical ideas created, the most common conversation concerns the organisation of these ideas within the time span of the extract.
The teacher is enjoying being a teacher, exercising responsibility and making fine-grained moment-by-moment judgements that nurture powers of discrimination in her pupils. Conversations are at their best when pupils’ and the teacher’s ways of thinking are interrupted only to find resolution when the pupil says: ‘that works’ – ‘that feels right’.
The teacher is enjoying being a teacher most of all because she has created a classroom climate in which there is an easy exchange of ideas.
But in the light of ideas such as self-organised learning, child-driven education and other 21st century ambitions, will the model of the teacher as knowledgeable conversationalist endure?
George Steiner writing about being a teacher is hopeful that it will:
‘There is no craft more privileged. To awaken in another human being powers, dreams beyond one’s own; to induce in others a love for that which one loves; to make of one’s inward present their future: this is the threefold adventure like no other.’ 
When music teachers say they are passionate about their teaching, is this what they mean?
 See also the http://www.ted.com/talks/sugata_mitra_the_child_driven_education?language=en – over two million viewings!
 Have you noticed how the term ‘genre’ is being de-graded? Are classical and pop really genres? Perhaps it doesn’t matter.
 Yes, practical knowledge not skills.
 Steiner, G. (2003) Lessons of the Masters. Harvard University.