Popular Music in Nigeria: Patronising Attitude or Benign Complacency?

1998 ◽  
Vol 15 (2) ◽  
pp. 181-189 ◽  
Author(s):  
Richard Okafor
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Educators ◽  
The Other ◽  
Main Thrust ◽  
Cultural Traditions ◽  
Cultural Contact ◽  
City Life ◽  
The Media ◽  
Nigerian Government

The development of musicians and the continuity of the musical art should be the main thrust of music education. The institutions of education should therefore be equipped to mould the development of music in society and to make the strongest input into musical expressions that are fashionable, acceptable and available. Formal music education came to Nigeria by way of Western institutions, drawing from the cultural traditions of Western societies. On the other hand, the media and other agencies have brought in other types of music acceptable in Western societies outside their academic sectors. Musical and cultural contact has given birth to the contemporary popular music of Nigeria that integrates Nigerian and non-Nigerian elements. With the growth of city life, commerce, industry and communication, this music has grown in popularity, in some cases sweeping every other thing aside. The attendant ‘pop phenomenon’ also means that cultural intrusion from outside Nigeria has grown more menacing. Who controls the popular music in Nigeria today? This paper tries to answer this question and in addition presents some data on the prevailing perspectives in the hope that the Nigerian Government and all music educators should range plans and solutions against them.

The Application of a Critical Sociology to Music Education

1984 ◽  
Vol 1 (3) ◽  
pp. 247-266 ◽  
Author(s):  
Graham Vulliamy ◽  
John Shepherd
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Educators ◽  
Music Teaching ◽  
Critical Sociology ◽  
Cambridge University ◽  
Sociology Of Music ◽  
Musical Notation ◽  
Musical Traditions

The aim of this article is to explore some important issues which music educators have raised concerning our work on the use of popular music in teaching and concerning the sociology of music thesis that underpins this work. Following a brief résumé of our perspective, we shall address four criticisms that have been made fairly generally by a number of reviewers of Whose Music? (Shepherd et al. 1977), and of the Cambridge University Press books (Vulliamy & Lee, 1976, 1982a) and the Routledge Popular Music Series (Vulliamy & Lee, 1982b). These criticisms are, first, that we hold an over-socially determined view of music; secondly that we have overstressed the qualitative differences between various musical traditions, especially in their differing relationships to analytic musical notation; third, that the culturally relative view of music which we espouse is both suspect theoretically and potentially anti-educational in practice; and, finally, that many of our suggestions for a reform of music teaching are impractical. Our hope is that we can dispel some ambiguities in our earlier work concerning these important but complex issues and thus leave music educators in a better position to appraise the relevance of our thesis.

Beyond Toleration—Facing the Other

2015 ◽  
pp. 237-250
Author(s):  
Richard Matthews
Keyword(s):  
Music Education ◽  
Social Dominance ◽  
Structural Violence ◽  
Music Educators ◽  
Educational Environment ◽  
The Other ◽  
Central Issue ◽  
Psychological Consequences ◽  
Related Theme

This essay seeks to integrate themes raised by the various contributors to this section of the Handbook. The central issue concerns the role played by music education in creating, perpetuating, or intensifying privilege and oppression. Intersectional considerations are used to show how chapters fit into a larger analysis of violence by exploring specific axes of oppression—for instance, race or gender—and how they relate to a larger situation of unjust social dominance. The concept of structural violence is crucial here, as much of the damage inflicted has direct physical and psychological consequences and either undermines or outright destroys the educational environment for those harmed by it. An essential related theme is the necessity for moral and political self-criticism—reflexivity—in struggling against oppression so that music education is not condemned to perpetuation. There are extraordinary possibilities for resistance available to reflexive music educators.

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 in preservice music education: Preparedness, confidence and implementation

2020 ◽  
Vol 4 (1) ◽  
pp. 41-60 ◽  
Author(s):  
Sandra Hamilton ◽  
Jennifer Vannatta-Hall
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Teacher Educators ◽  
Classical Music ◽  
The United States ◽  
Music Educators ◽  
Music Teacher ◽  
Students Attitudes ◽  
Training Programmes ◽  
K 12

This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.

Music Education in the Nordic Countries

1987 ◽  
Vol 4 (3) ◽  
pp. 251-252 ◽  
Author(s):  
John Paynter
Keyword(s):  
United States ◽  
Music Education ◽  
The United States ◽  
Music Educators ◽  
Nordic Countries ◽  
The Other ◽  
Other Hand ◽  
Enormous Amount ◽  
Academic Professions

Possibly because very few teachers in Britain are fluent readers of Scandinavian languages while, on the other hand, the majority in the academic professions in Norway, Denmark, Sweden, Finland and Iceland speak and read – not infrequently write – English, the flow of thinking about music education and its developments often appears to be one way.Yet although it may be true to say that, over the last twenty years or so, music educators in the Nordic countries have drawn quite a lot of inspiration from beyond their own borders (Finland and Sweden tending to look towards Hungary; Norway, Iceland and Denmark perhaps turning more often to Britain and the United States), it would be a serious error to imagine that they have no significant ideas of their own! Indeed, an enormous amount has been achieved in these countries from which the rest of us can usefully learn.

Focus Wales: A showcase festival of music performance and education

2021 ◽  
Vol 5 (1) ◽  
pp. 113-118 ◽  
Author(s):  
Chris Inglis
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Performance ◽  
The Other ◽  
Professional Musicians ◽  
The Town

Since 2011, the town of Wrexham has hosted the annual Focus Wales festival, showcasing local and international talent across a three-day event to an audience of 15,000. What sets this festival aside from many of the other, similar events happening around the country is its emphasis on music education alongside simply performance. On top of the various shows that take place over the course of the bank holiday weekend, Focus Wales also presents interactive events featuring industry experts, film screenings, and art installations; as well as a conference that presents talks from professional musicians, promoters, radio DJs, academics and more. This article looks into the ways in which Focus Wales has approached musicological discourse over its ten-year history, and how it has contributed to popular music education in Wales.

Perceptions and Preparedness: Preservice Music Educators and Popular Music Teaching Skills

2020 ◽  
pp. 875512332095794
Author(s):  
Rachel Sorenson
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Music Educators ◽  
Music Instruction ◽  
Comfort Level ◽  
Teaching Skills ◽  
Music Software ◽  
Learning Practices ◽  
Music Education Majors

The purpose of this study was to examine the perceptions of undergraduate music education majors regarding the skills needed to teach popular music classes, and their comfort level with those skills. Preservice music educators ( N = 81) completed a researcher-designed questionnaire describing their previous experiences with popular music, their perceptions of necessary teaching skills for popular music instruction, their comfort level with those skills, and their overall feelings of preparedness to teach popular music. Respondents rated the teaching skills of ear training, piano/keyboard, and informal learning practices as most important. In addition, respondents indicated that they were most comfortable with the teaching skills of singing, music theory, and informal learning practices. In general, respondents felt moderately prepared to teach popular music, but many believed they were lacking important knowledge and skills, including proficiency on various instruments, understanding how to integrate popular music, and music software proficiency. Implications for music educators are discussed.

scholarly journals Popular Music Education: A Call to Action

2019 ◽  
Vol 106 (1) ◽  
pp. 21-24
Author(s):  
Bryan Powell ◽  
Gareth Dylan Smith ◽  
Chad West ◽  
John Kratus
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Educators ◽  
Special Focus ◽  
Call To Action

This is the editors’ introduction to the Special Focus Issue on Popular Music Education. Also included is a forward from Robert A. Cutietta, editor of the 1991 Music Educators Journal Special Focus Issue on Popular Music Education.

A music literacy-based rationale for popular music ensembles and experiences in music education

2020 ◽  
Vol 38 (3) ◽  
pp. 470-491
Author(s):  
Brittany Nixon May ◽  
Paul Broomhead ◽  
Samuel Tsugawa
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Literacy Development ◽  
Music Educators ◽  
Music Literacy ◽  
Music Ensembles ◽  
Definition Of

The purpose of this article is to utilize new conceptions of music literacy to support and encourage popular music experiences in music education. A new definition of music literacy is presented and authentic popular music resources that function as (newly defined) texts to develop music literacy are identified and discussed. Finally, considerations will be given for music educators on how to select and utilize popular music texts to engage students in meaningful music interactions that promote music literacy development.

Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education

2015 ◽  
Vol 32 (1) ◽  
pp. 71-86 ◽  
Author(s):  
Melissa Cain
Keyword(s):  
Music Education ◽  
Primary Schools ◽  
Music Educators ◽  
The Other ◽  
Binary Opposition ◽  
Teachers Perceptions ◽  
Multicultural Policy ◽  
Cultural Boundaries ◽  
The Many ◽  
Musical Understanding

The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in the state of Queensland provides a foundation for the discussion of data obtained from interviews with teachers from state and private primary schools in the capital Brisbane. The results reveal that while music educators are generally inquisitive about incorporating musics of ‘other’ cultures into their lessons, they are less comfortable with crossing cultural boundaries, and do not wish to threaten the position of Australia's own musical culture – ultimately highlighting a disconnect between policy, rhetoric and practice in the area of culturally diverse music education in classrooms today.

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