The Case for Pop Ensembles in the Curriculum

2017 ◽  
Author(s):  
Justin Patch
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Communication Skills ◽  
Student Leadership ◽  
Music Programs ◽  
First Century ◽  
Applied Learning ◽  
Music Department ◽  
Music Making ◽  
Practical Experiences

Music programs should include pop pedagogy, a serious engagement with applied popular music, as they adjust their curricula for the twenty-first century. Pop pedagogy is relevant for pragmatic reasons of future employment and also to meet long-standing missions of higher education. Pop performance, arranging, and songwriting have implications beyond creating music professionals—they open a music department up to students who might never take classes otherwise, teach critical communication skills and civics, provide opportunities for student leadership and applied learning, and prepare skilled amateur musicians for lifelong engagement with music making. Through flipping the classroom and creating a rigorous atmosphere for students to engage with musics that they regularly listen to and participate in, pop ensembles augment the intellectual and practical experiences of students, diversify the curriculum, and keep music education relevant.

The Impact of Technologies on Society, Schools, and Music Learning

2017 ◽  
pp. 276-290
Author(s):  
Valerie Peters
Keyword(s):  
Music Education ◽  
New Technology ◽  
Traditional Music ◽  
First Century ◽  
Music Culture ◽  
Professional Musicians ◽  
Rock Band ◽  
Music Making ◽  
And Performance ◽  
The Impact

This chapter examines how music education can benefit from the use of new electronic tools and materials for music making that allow learners to combine their interests and prior understandings toward deepening their engagement in music. By exploring how rhythmic video games like Rock Band bridge the large chasm that exists between youths’ music culture and traditional music education; how inexpensive recording hardware and software such as Audacity and GarageBand have provided youth with opportunities to compose and perform as only professional musicians could in the past; and how software like Impromptu successfully engages youth in music composition and analysis by enabling users to create and remix tunes using virtual blocks that contain portions of melodies and rhythmic patterns, this chapter argues that twenty-first-century music education, with the help of new technology, has the potential for engaging greater numbers of young learners in authentic music making and performance.

Philosophy of Assessment in Popular Music Education

2019 ◽  
pp. 345-363
Author(s):  
Bryan Powell ◽  
Gareth Dylan Smith
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Popular Music ◽  
Cultural Practices ◽  
Music Programs ◽  
Assessment Practices ◽  
Inclusive Approach

With the expanding landscape of and proliferation of activity related to popular music education, philosophies underpinning and informing the assessment of students participating in popular music programs have come to the forefront of discussion. This chapter discusses the relationships among music education, higher education, and popular music as commoditized product(s), as well as the context for and a set of (sub)cultural practices, and looks through the lens(es) of authenticity before exploring canon and repertoire in popular music education. It highlights examples of assessment practices in particular popular music education contexts and the ideologies and philosophies that consciously or unconsciously undergird these. The chapter then presents a model of assessment derived from working in an innovative way—called “negotiated assessment” (Kleiman, 2009, p. 2)—with undergraduate arts students across disciplines. The chapter proposes this as one possible broad, inclusive approach to establishing a philosophy of assessment for popular music education.

Then and Now

2017 ◽  
pp. 80-86
Author(s):  
David A. Williams
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Music Teachers ◽  
New Music ◽  
Music Programs ◽  
School Music ◽  
Education Profession ◽  
K 12 ◽  
Musical Styles

Fear of change is deeply embedded in the music education profession. It is a fear of the unknown—a fear of losing control over that with which music teachers are comfortable and confident. As a whole the music education profession resists the use of new music technologies. We are a profession that resists change, and this resistance has hurt us. This resistance is fast making us irrelevant in a musical world that is ever changing. Students currently in K–12, as well as in higher education, have grown up with new music technologies and related musical styles that are quite different from what they encounter in schools. The vast majority of these students see no place for themselves in school music programs. We are missing out on exciting opportunities that would be made possible by embracing new music technologies, especially when used in conjunction with corresponding pedagogies.

DECENTRING AND DISMANTLING: A CRITICAL AND RADICAL APPROACH TO DIVERSITY IN TERTIARY MUSIC EDUCATION

Tempo ◽  
2020 ◽  
Vol 74 (294) ◽  
pp. 65-76
Author(s):  
Joanna Ward
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Tertiary Education ◽  
Higher Education Institutions ◽  
Value Systems ◽  
Recent Experience ◽  
Music Making ◽  
The Uk ◽  
Radical Approach

AbstractThis article is a response, informed by my own recent experience of tertiary education in the UK, as well as my work as a composer, performer, researcher and activist, to the collection of articles published in TEMPO 292 addressing issues of diversity in music-making and tertiary music education in Australia. Though interventions have been successful in achieving better gender representation across musical contexts in Australian higher education institutions, I bring into question the long-term legitimacy of such empirical or revisionist approaches. Drawing on a range of feminist, poststructural, queer, and decolonial thought, I explore how conventional approaches to tertiary music education – both in terms of pedagogical methods, as well as assumed or prioritised content – enforce hegemonic and exclusionary value systems, hierarchies, ontologies and epistemologies. I also problematise some of the ways in which neoliberal and capitalist frameworks have become embedded within tertiary music education and advocate a process of destabilising and decentring assumed parameters, outlining how a critical, political and radical approach to music education might look.

A Case Study of ‘Newer Practices’ in Music Education at Conservatoire Level

1997 ◽  
Vol 14 (3) ◽  
pp. 251-269 ◽  
Author(s):  
Jane W. Davidson ◽  
Jonathan A. Smith
Keyword(s):  
Higher Education ◽  
Music Education ◽  
Learning Strategies ◽  
Communication Skills ◽  
Teaching And Learning ◽  
School Of Music ◽  
British Music ◽  
Teaching And Learning Strategies ◽  
Teachers And Students

In recent times the types of teaching and learning strategies adopted within higher education in British music conservatoires have been reviewed and reformed. This paper provides a case study of some of the newer practices adopted by one such institution, the Guildhall School of Music and Drama. It focuses on the work of the Performance and Communication Skills Department, and, drawing on participant observations, makes a detailed analysis of the success of the implementation of the teaching and learning aims and objectives. The findings suggest that, not only are the changes adopted by the conservatoire useful, but also that they are beneficial to teachers and students at a number of levels.

Mobile Technology

2021 ◽  
pp. 3-15
Author(s):  
Gena R. Greher ◽  
Suzanne L. Burton
Keyword(s):  
Music Education ◽  
Mobile Devices ◽  
Mobile Technology ◽  
First Century ◽  
The Core ◽  
Music Making ◽  
Other Hand ◽  
Approach To Teaching ◽  
Informal Approach ◽  
Pedagogical Approaches

The chapter defines the promise and possibilities of twenty-first-century digital musicianship, with musical creativity and engagement at the core of music education via the use of mobile devices. Through the intentional use of iPads, tablets, or other hand-held devices, students are presented with myriad ways to create, perform, listen to, and respond to music. The authors discuss the turnaround in their own thinking about mobile devices, their conceptions of creative musicking, and the changes in their pedagogical approaches to a more inclusive, constructivist, and informal approach to teaching with and through mobile technology. They explore the enormous potential of rather small technological devices to transform the music-making experiences of students of any age.

Interest-Driven Music Education

2017 ◽  
pp. 190-202
Author(s):  
Kylie Peppler
Keyword(s):  
Music Education ◽  
Music Composition ◽  
Traditional Music ◽  
First Century ◽  
Music Culture ◽  
Professional Musicians ◽  
The Past ◽  
Rock Band ◽  
Music Making ◽  
And Performance

This chapter examines how music education can benefit from the use of new electronic tools and materials for music making that allow learners to combine their interests and prior understandings toward deepening their engagement in music. This chapter puts forward a series of new examples that are transforming tradition music education, including rhythmic video games, like Rock Band, which can help bridge the large chasm that exists between youths’ music culture and traditional music education. In addition, inexpensive recording hardware and software such as Audacity and GarageBand have provided youth with opportunities to compose and perform as only professional musicians could in the past, uniquely shifting the professional recording and composition landscape. Other prominent examples include software like Impromptu, which successfully engages youth in music composition and analysis by enabling users to create and remix tunes using virtual blocks that contain portions of melodies and/or rhythmic patterns that allow one to understand music theory and composition at much younger ages. Collectively this work heralds a shift in twenty-first-century music education, which has the potential for engaging greater numbers of young learners in authentic music making and performance.

A Consumer Behavior-Influenced Multidisciplinary Transcendent Model of Motivation for Music Making

2017 ◽  
Author(s):  
Valerie L. Vaccaro
Keyword(s):  
Consumer Behavior ◽  
Music Education ◽  
Well Being ◽  
Social Needs ◽  
Self Identity ◽  
Music Making ◽  
Self Actualization ◽  
Psychic Energy ◽  
Self Transcendence

This chapter reviews multidisciplinary research from the fields of consumer behavior, humanistic and positive psychology, music education, and other areas to develop a new Transcendent Model of Motivation for Music Making. One’s “extended self” identity can be defined partly by possessions and mastery over objects, and objects can “complete” the self. Music making involves a person’s investment of “psychic energy,” including attention, time, learning, and efforts, and is a creative path which can lead to peak experiences and flow. Music making can help satisfy social needs, achieve self-actualization, experience self-transcendence, enhance well-being, strengthen spirituality, and improve the quality of life.

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