Leisure-Time Music Activities from the Perspective of Musical Agency

2017 ◽  
Author(s):  
Sidsel Karlsen
Keyword(s):  
Music Education ◽  
Leisure Time ◽  
Learning Trajectories ◽  
Binary Opposition ◽  
Sociology Of Music ◽  
Music Production ◽  
Music Consumption ◽  
Musical Taste ◽  
Specific Concept ◽  
Music Activities

This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.

scholarly journals Attitudes of primary school teachers in Croatia toward Music as a school subject / Stališča osnovnošolskih učiteljev na Hrvaškem do glasbe kot šolskega predmeta

2021 ◽  
Vol 17 (34) ◽  
pp. 13-27
Author(s):  
Snježana Dobrota ◽  
Antonija Vrančić ◽  
Ivana Križanac
Keyword(s):  
Music Education ◽  
Primary School ◽  
Primary Education ◽  
Work Experience ◽  
Leisure Time ◽  
Classical Music ◽  
School Teachers ◽  
School Subject ◽  
Primary School Teachers ◽  
Music Activities

The paper explores the influence of years of work experience, professional qualifications, additional music education, engaging in music activities in leisure time, and going to the theatre/classical music concerts on the attitudes of primary school teachers toward the school subject Music. The research was conducted on a sample of primary education teachers from all Croatian counties (N = 233), using a questionnaire composed of two parts: The General Data Questionnaire and Attitudes Toward Music as a School Subject. The results confirm that primary school teachers with fewer years of work experience have more positive attitudes toward the Curriculum of Music Education for Primary Schools and for Grammar Schools in the Republic of Croatia, while in other aspects of attitudes no difference was found. Furthermore, no differences were found in the attitudes of primary school teachers toward the subject Music with regard to their professional qualifications. Primary education teachers who have attended additional music classes, who engage in music activities in leisure time and who often attend theatre/classical music concerts, consider Music to be an important school subject that relaxes the students, and consider themselves more competent to teach music. The obtained results have significant implications in terms of music pedagogy, with regard to organizing the music education of preservice primary teachers and their lifelong learning.

Reports From the Field: Confessions of a Facebook Punk, or How Not to Do Social Media

2020 ◽  
pp. 235-244
Author(s):  
Gareth Dylan Smith
Keyword(s):  
Social Media ◽  
Music Education ◽  
Popular Music ◽  
Purpose In Life ◽  
Sociology Of Music ◽  
Working Through ◽  
The World

The author is rarely certain of his purpose in life—a condition that is heightened by a busy yet reluctant level of engagement with social media. The author utilizes Facebook and Twitter to promote activity around popular music education and sociology of music education. There is considerable overlap in the author’s life between professional and personal domains, which seems amplified by social media. Facebook and Twitter provide less formal, more direct means to engage with the world than traditional modes of peer-reviewed communication among academic colleagues. Social media provide a platform for working through ideas and for addressing problems with urgency and immediacy. As such, and despite some messiness and increased levels of vulnerability and risk, the author encourages peers to engage with social media’s immediate and powerful, punk pedagogical potential.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

scholarly journals Music consumption in Brazil: an analysis of streaming reproductions

2020 ◽  
Vol 10 (19) ◽  
pp. 141
Author(s):  
Gabriel Borges Vaz de Melo ◽  
Ana Flávia Machado ◽  
Lucas Resende de Carvalho
Keyword(s):  
Digital Music ◽  
Replacement Model ◽  
Music Consumption ◽  
Musical Taste ◽  
Streaming Services ◽  
Musical Genres ◽  
The Way

Music is one of the cultural segments that most adapts and innovates, as observed in the recent rise of streaming services. The consumption of digital music has altered the dynamics of the market and the way people enjoy it. The aim of this article is to show trends and tastes of Brazilian individuals, taking into account musical genres. For this purpose, it uses data of playlists collected from the Spotify streaming platform through its API. The results show that genres such as sertanejo universitário and international pop have great national reach. However, other national genres and artists with less popularity have a relevant and distinct demand in some Brazilian cities. Our analysis indicates both the maintenance of the traditional consumption as the rise of the mass-replacement model. Therefore, a regionalization of the musical taste in Brazil is evidenced,which suggests a potential of musical niches in the context of the streaming market.

scholarly journals Automatic Music Genre Classification and Its Relation with Music Education

2021 ◽  
Vol 11 (2) ◽  
pp. 36
Author(s):  
Hasan Can Ceylan ◽  
Naciye Hardalaç ◽  
Ali Can Kara ◽  
Fırat Hardalaç
Keyword(s):  
Music Education ◽  
Learning Algorithm ◽  
Mel Frequency Cepstral Coefficients ◽  
Music Production ◽  
Music Classification ◽  
Music Genres ◽  
Deep Learning Algorithm ◽  
Genre Classification ◽  
Music Genre ◽  
Music Genre Classification

Because the classification saves time in the learning process and enables this process to take place more easily, its contribution to music learning cannot be denied. One of the most valid and effective methods in music classification is music genre classification. Given the rapid progress of music production in the world and the significant increase in the number of data, the process of classifying music genres has now become too complex to be done by humans. Considering the successful results of deep neural networks in this field, the aim is to develop a deep learning algorithm that can classify 10 different music genres. To reveal the efficiency of the model by comparing it with others, we make the classification using the GTZAN dataset, which was previously used in many studies and retains its validity. In this article, we use a convolutional neural network (CNN) to classify music genres, taking into account the previous successful results. Unlike previous studies in which CNN was used as a classifier, we represent music segments in the dataset by mel frequency cepstral coefficients (MFCC) instead of using visual features or representations. We obtain MFCCs by preprocessing the music pieces in the dataset, then train a CNN model with the acquired MFCCs and determine the success of the model with the testing data. As a result of this study, we develop a model that is successful in classifying music genres by using smaller data than previous studies.

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.

Introduction

2020 ◽  
pp. 1-24
Author(s):  
Travis D. Stimeling
Keyword(s):  
United States ◽  
Radical Change ◽  
The United States ◽  
Country Music ◽  
Live Performance ◽  
Radio Stations ◽  
Music Production ◽  
The World ◽  
Music Consumption ◽  
Disc Jockey

In the early 1950s, country music was a cottage industry in Nashville, supporting a handful of small recording studios, publishers, and managers, and Nashville was known primarily as the home of The Grand Ole Opry. By the mid-1960s, however, Nashville had become “Music City, USA,” a bustling town known around the world as the epicenter of country music production and dissemination. As Nashville underwent this transformation, popular music consumption in the United States also underwent a radical change, as disc jockey programs replaced live performance on radio stations across the United States. Drawing upon recent academic work in the musicology of recording, the Introduction considers how these changes affected the ways that audiences heard country music during the 1950s and 1960s. In its focus on recorded country music, the Nashville Sound era begs for a musicological inquiry examining the creative decisions of session musicians, recording engineers, and record producers and the impacts of those decisions on the listeners who engaged with their work.

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