Images of England Through Popular Music: Class, Youth and Rock ‘n’ Roll, 1955–1976. By Keith Gildart. Basingstoke: Palgrave Macmillan, 2103. 290 pp. ISBN 978-0-230-01969-0

Popular Music ◽  
2015 ◽  
Vol 34 (2) ◽  
pp. 362-364
Author(s):  
Emma Jackson
Keyword(s):  
Popular Music ◽  
Rock N Roll ◽  
Music Class ◽  
Class Youth

scholarly journals General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles

2019 ◽  
Vol 33 (1) ◽  
pp. 6-14
Author(s):  
Virginia Wayman Davis ◽  
Laura Singletary ◽  
Kimberly VanWeelden
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Practical Experience ◽  
Upper Elementary ◽  
Elementary Music ◽  
General Music ◽  
Music Classroom ◽  
Music Ensembles ◽  
Music Class ◽  
Instrumental Ensembles

In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.

Gender Differences of Popular Music Production in Secondary Schools

2011 ◽  
Vol 59 (1) ◽  
pp. 21-43 ◽  
Author(s):  
Joseph Michael Abramo
Keyword(s):  
Gender Differences ◽  
Learning Styles ◽  
Music Education ◽  
Popular Music ◽  
Original Music ◽  
Music Production ◽  
Musical Production ◽  
Music Class ◽  
Opposite Gender

In this case study, the author inv estigated how students’ gender affected their participation in a secondary popular music class in which participants wrote and performed original music. Three same-gendered rock groups and two mixed-gendered rock groups were observ ed. Would students of different genders rehearse and compose differently? How would same-gendered processes compare to mixed-gendered processes? Research suggests that girls learn differently from boys and that gender—as distinct from sex—is formed in social env ironments. In research on popular music education, howev er, the participation of girls has been under-documented and under-theorized. This study found that boys and girls rehearsed and composed differently: Whereas the boys combined musical gestures and nonv erbal communication into a seamless sonic process, the girls separated talk and musical production. In the mixed-gendered groups, tensions arose because participants used different learning styles that members of the opposite gender misunderstood. Broadening popular music pedagogies to incorporate different practices is suggested.

‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 293-318 ◽  
Author(s):  
Alexander Stewart
Keyword(s):  
New York ◽  
World War Ii ◽  
Popular Music ◽  
New Orleans ◽  
World War ◽  
Related Development ◽  
American Popular Music ◽  
Rock N Roll ◽  
The 1960S ◽  
Reverse Development

The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.

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