Writing Jimi: rock guitar pedagogy as postmodern folkloric practice

Popular Music ◽  
1993 ◽  
Vol 12 (3) ◽  
pp. 281-288 ◽  
Author(s):  
Jeff Schwartz
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Electric Guitar ◽  
Face To Face ◽  
School Music ◽  
One To One

Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.

Songwriting with digital audio workstations in an online community

2020 ◽  
Vol 4 (2) ◽  
pp. 237-252 ◽  
Author(s):  
Matthew Clauhs
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Online Community ◽  
Music Teachers ◽  
File Sharing ◽  
Digital Audio ◽  
Google Docs ◽  
Music Production ◽  
School Music ◽  
High School Music

Digital audio workstations and online file-sharing technology may be combined to create opportunities for collaborations among many groups, including performing ensembles, music technology classes, professional songwriters and preservice music teachers. This article presents a model for a digitally mediated online collaboration that focuses on popular music songwriting activities in school and higher education settings. Using an example from a high school music production class that collaborated with an undergraduate music education course through Google Docs and a file-sharing platform, the author outlines steps towards facilitating partnerships that focus on creating music in an online community. Such collaborations may help remove barriers between our classrooms and our communities as music teachers leverage technology to develop relationships with creators and performers of popular music everywhere.

scholarly journals Music education – a personal matter? Examining the current discourses of music education in Sweden

2010 ◽  
Vol 27 (1) ◽  
pp. 21-33 ◽  
Author(s):  
Eva Georgii-Hemming ◽  
Maria Westvall
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Personal Development ◽  
International Perspective ◽  
Music Pedagogy ◽  
Upper Secondary ◽  
School Music ◽  
Pedagogical Research ◽  
Musical Interests

The embedding of informal practices in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last 10 years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from ‘School Music’ to ‘Music in School’. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur – both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools, and what is sometimes called informal learning, is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education in Sweden has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the potential to be of interest to international music education research.

The effect of participation in a popular band program on students’ musical and extra-musical outcomes in Korea

2020 ◽  
Vol 38 (3) ◽  
pp. 370-382
Author(s):  
Joo Yeon Jung ◽  
Jihae Shin ◽  
Soojin Lee
Keyword(s):  
Music Education ◽  
South Korea ◽  
Popular Music ◽  
Integrated Curriculum ◽  
Music Educators ◽  
Music Curriculum ◽  
Bob Dylan ◽  
School Music ◽  
Mainstream School ◽  
Younger Generation

The increased attention to the use of popular music within the classroom is not new. In fact, music educators in many countries have discussed the incorporation of popular music into mainstream music education for decades. South Korea is no exception, and the younger generation has a genuine interest in and sensitivity toward popular music. Yet, South Korea has been slow to incorporate popular music into its mainstream school music curriculum. Recently, the popular band has been gaining its popularity as a new kind of ensemble program inside and outside the school in South Korea. Thus, the purpose of this study was to analyze the effects of a popular band program, the “Little Bob Dylan Band,” on students’ musical and extra-musical outcomes. Thirty-five students participated in the program, and, in this study, both students and their parents completed a survey and were individually interviewed. Results indicated that the program enabled students to have new and deepened musical experiences in their lives. In addition, students were able to develop artistic originality through an integrated curriculum that involved cooperation with peers while creating and playing music together.

Popular music education and American democracy: Why I coined the term ‘modern band’ and the road ahead

2020 ◽  
Vol 4 (1) ◽  
pp. 117-125 ◽  
Author(s):  
Dave Wish
Keyword(s):  
Music Education ◽  
Popular Music ◽  
School Teacher ◽  
The United States ◽  
American Music ◽  
American Democracy ◽  
Non Profit ◽  
The Road ◽  
The Core ◽  
School Music

In this article, the author, the founder and CEO of Little Kids Rock, describes how his early work as an elementary school teacher providing an extracurricular guitar club, evolved into him founding a music education non-profit organization. By inventing the term ‘modern band’ and joining nationwide leading efforts for systemic change in US American music education, the author tries to place popular music conceptually and pedagogically at the core of school music programmes. The author briefly describes the causes of the exclusion of popular music from school music programmes before arguing that modern band can help to democratize school music education by making it culturally relevant, student-centred and inclusive. The article concludes with the author’s hopes for the future of music education in the United States.

scholarly journals Teaching Aesthetics – A Case Study of One-To-One Tuition in Popular Electronic Music in Higher Education

2020 ◽  
pp. 257-278
Author(s):  
Eirik Sørbø ◽  
Andreas Waaler Røshol
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Electronic Music ◽  
Classical Music ◽  
Teaching Practice ◽  
Educational Framework ◽  
One To One ◽  
The University

Research regarding informal learning over the last few decades has shown how popular musicians acquire skills and knowledge through informal learning, suggesting new methods for formal music education compared to the structures of western classical music. Today, the realm of popular electronic music education faces some similar challenges that popular music education initially did; new ways of informal learning, and a different and diverse knowledge base for the students entering popular music programs. Related to these challenges is the question of how to teach one-to-one tuition in higher electronic music education, and this article seeks to address this challenge. We present a case-study of the practice of a teacher at the University of Agder in Norway that teaches electronics in one-to-one tuition, where the research data is based on interviewing this teacher and his students. An important aspect of the practice in question is the process of listening to and discussing the student’s original recorded music. We discuss some of the challenges of one-to-one teaching in electronic music education, and argue that this particular teaching approach accommodates some of these challenges. Bringing in the educational framework of Biesta, we argue that this form of teaching practice also facilitates subjectification by addressing both uniqueness and expression. Further, we argue that this practice, which focuses on the teaching of aesthetics instead of technicalities, combined with the development of the students’ unique artistic expression can open some interesting possibilities related to addressing subjectivity in higher music education. One of these is how the students need to articulate both the objectives and aims within their music, and the objectives and aims of their music, which in turn develops a terminology to talk about and beyond aesthetics.

Modern Band: A Review of Literature

2021 ◽  
pp. 875512332098852
Author(s):  
Bryan Powell
Keyword(s):  
United States ◽  
Literature Review ◽  
Music Education ◽  
Popular Music ◽  
Teaching And Learning ◽  
The United States ◽  
Music Programs ◽  
Future Research ◽  
School Music ◽  
K 12

The recent increase in popular music education in K–12 school music programs is in part due to the expansion of modern band programming throughout the United States. Modern band is a term used to describe school music ensembles that include popular music instruments and focus on performing music that is meaningful to the students while incorporating songwriting. The purpose of this literature review was to examine relevant research related to modern band music programs in the United States and provide implications for music teaching and learning. Music researchers and professionals have recently addressed specific issues related to increasing the diversity of school music programs, addressing elements of culturally responsive curricula, and positively affecting the social and emotional development of students through modern band. Throughout this literature review, I provide implications for music teachers and discuss areas for future research.

The integration of music technology into popular music ensembles: Perspectives of modern band teachers

2019 ◽  
Vol 12 (3) ◽  
pp. 297-310 ◽  
Author(s):  
Bryan Powell
Keyword(s):  
New York ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
The United States ◽  
Music Technology ◽  
Student Agency ◽  
Music Ensembles ◽  
School Music ◽  
K 12

The increased presence of technology into music education classrooms has coincided to some extent with the increased presence of popular music into school music spaces, especially in the United States. This study examined the integration of music technologies into K-12 (ages 5‐18) popular music programmes in New York City (NYC). One hundred sixty-eight music teachers responded to a survey, all of whom had previously participated in a modern band workshop as part of the Amp Up NYC initiative. Results of the study found that many of the challenges of incorporating music technology into modern bands, including lack of access to technology or faulty hardware, are not unique to popular music ensembles. Some of the successes mentioned by the teachers, including songwriting, beat-making and increased student agency, provide a glimpse into the benefits that integrating music technology into modern band classrooms can offer.

scholarly journals Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia

2016 ◽  
Vol 34 (1) ◽  
pp. 41-55
Author(s):  
Snježana Dobrota ◽  
Ina Reić Ercegovac
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Popular Music ◽  
Classical Music ◽  
Musical Theatre ◽  
World Music ◽  
Music Preferences ◽  
Music School ◽  
School Music ◽  
The Relationship

The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.

scholarly journals Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education

2019 ◽  
Vol 37 (2) ◽  
pp. 298-310
Author(s):  
Martina Vasil
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
Music Learning ◽  
Informal Music Learning ◽  
Learning Practices ◽  
School Music ◽  
Multiple Case

The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into their secondary school music programs in the United States. A primary goal was to understand music teachers’ process of enacting change. Data included 16 semi-structured interviews, eight school site visits and observations, documents, and a researcher journal. Findings revealed that teachers enacted change within micro-contexts—their classrooms. Teachers had an internal locus for change; they developed rationales for change and initiated curricular changes in response to a lack of student engagement, which seemed to stem from students feeling insecure in their musical abilities and disconnected from the content and pedagogy used in music classes. For the teachers in this study, the solution was integrating popular music and informal music learning practices. Thematic analysis revealed eight characteristics of effective teacher-initiated change in secondary music education: (1) holistic and gradual change processes, (2) teacher reflection and inquiry, (3) teacher autonomy, (4) enabling institutional factors, (5) use of a variety of supportive networks, (6) student-centered pedagogy, (7) teacher-selected professional development, and (8) a balance of structure and chaos and formal and informal learning.

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