A Rising Tide

2021 ◽  
pp. 265-274
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Electronic Music ◽  
Music Teachers ◽  
Music Technology ◽  
Cultural Authenticity ◽  
Music Program ◽  
Popular Music Studies ◽  
Vernacular Music ◽  
School Music

This chapter reflects on the curriculum outlined in the book and how it fits into the larger music education landscape. While project-based electronic music may not be appealing to all music teachers, the benefits of this approach to music education generally are broad and substantial. An open-enrollment music technology course creates a culture of inclusion that can lend a school’s music program greater cultural authenticity and demographic inclusiveness. When students are able to create music in their preferred styles, it validates their musical identities and helps them build toward lifelong learning. There are racial politics underlying the gulf between “school” music and “popular” music, and the chapter discusses the opposition that each successive form of African-American popular and vernacular music has faced in the academy. Critical popular music studies animated by antiracism can serve to both advance social justice goals, and to strengthen and enrich music programs.

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.

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.

Songwriting with Iconic Notation in a Music Technology Classroom

2021 ◽  
Vol 107 (3) ◽  
pp. 22-30
Author(s):  
Matthew Clauhs
Keyword(s):  
Popular Music ◽  
Music Teachers ◽  
Music Technology ◽  
Chord Diagrams ◽  
Technology Classroom ◽  
School Music ◽  
The Creation

Recognizing that music teachers may struggle to implement songwriting activities in a classroom, and that iconic notation provides an opportunity to increase access to school music for all students, the purpose of this article is to share one model of songwriting activities in a music technology class using chord diagrams, beat grids, and keyboard charts. The article outlines specific steps to the creation of drum grooves, simple chord progressions, bass lines, and melodies, using forms of notation that are appropriate for popular music instruments and styles.

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.

Integrating popular music into urban schools: Assessing the effectiveness of a comprehensive music teacher development program

2021 ◽  
pp. 025576142098622
Author(s):  
Hal Abeles ◽  
Lindsay Weiss-Tornatore ◽  
Bryan Powell
Keyword(s):  
Professional Development ◽  
New York ◽  
Music Education ◽  
Popular Music ◽  
Teacher Development ◽  
Development Program ◽  
Music Teacher ◽  
School Year ◽  
Music Program ◽  
K 12

As popular music education programs become more common, it is essential to determine what kinds of professional development experiences that are designed to help teachers include popular music into their music education classrooms are effective—keeping in mind that the inclusion of popular music in K–12 classrooms requires a change not only in instrumentation and repertoire but also pedagogical approaches. This study examined the effects of a popular music professional development initiative on more than 600 New York City urban music teachers’ musicianship, their pedagogy, and their leadership skills throughout one school year. Results revealed increases in all three areas, most notably in teachers’ musicianship. The study also showed an increase in teachers’ positive perceptions about their music programs, specifically, their level of excitement about the state of their music program and that their music program was more effective at meeting their students’ needs than it had been previously.

The method of emotional education in music teaching

2021 ◽  
pp. 002072092098355
Author(s):  
Hui Hong ◽  
Weisheng Luo
Keyword(s):  
Middle School ◽  
Music Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Aesthetic Education ◽  
Music Teaching ◽  
True Meaning ◽  
School Music ◽  
Teaching Music ◽  
Emotional Education

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.

Toward a Creative Music Curriculum

2021 ◽  
pp. 3-11
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Project Based Learning ◽  
Philosophy Of Music ◽  
Technology Program ◽  
Music Production ◽  
Creative Music ◽  
School Music ◽  
And Performance ◽  
Support Students

Research has shown the need for new types of music classes that emphasize amateur music production and popular music. The new types of programs contrast with traditional classical and performance-based music programs. Digital audio production offers an unprecedented opportunity to support students in active, culturally authentic music-making. A successful music technology program requires a change from the teacher-led ensemble model to a creative workshop structure. Furthermore, it requires the recognition that current popular styles have their own distinct aesthetics and creative approaches. Project-based learning also requires teachers to develop their own pedagogical creativity. This approach can attract students who do not currently participate in or identify with school music, but who nevertheless consider themselves to be musicians. The constructivist philosophy of music education, using teaching strategies that support students’ agency in their own learning, fosters self-motivation and a critical stance toward popular culture.

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