Inclusive Popular Music Education?

2017 ◽  
Author(s):  
Alexis A. Kallio ◽  
Lauri Vakeva
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Social Exclusion ◽  
Nordic Countries ◽  
Education Policies ◽  
Music Genres ◽  
History Of

This chapter surveys the history of popular music education in Nordic countries and explores scenarios for possible interpretations, resulting in a rich and informed critique of the field. The chapter offers a comparative overview of approaches to popular music education in the Nordic countries, focusing on the rationales for including popular music in the curriculum. A dominant rationale has been that popular music has unique democratic potentials. The analysis brings nuance to the situation, arguing that popular music genres “are not necessarily democratic in and of themselves.” Popular music education policies can, in fact, be instruments of social exclusion.

The power ballad

Popular Music ◽  
2012 ◽  
Vol 31 (3) ◽  
pp. 437-459 ◽  
Author(s):  
David Metzer
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Culture Media ◽  
The Other ◽  
Music Genres ◽  
History Of ◽  
The 1960S

AbstractThe power ballad has become a mainstay of popular music since the 1970s. This article offers a history of the songs and discusses their place in the larger field of popular music genres. The songs are defined by the use of both a musical formula based on constant escalation and an expressive formula that combines the euphoric uplift created by rousing music with sentimental themes and ploys. Contrary to views that power ballads first appeared in 1980s rock and are primarily rock numbers, the songs emerged in the 1970s pop recordings of Barry Manilow and others, and from early on crossed genre lines, including pop, rock and R&B. These crossings result in an exchange between the fervour of the power ballad and the distinct expressive qualities of the other genres. This article also places the power ballad in the larger history of the ballad. The songs are part of a shift toward more effusive and demonstrative styles of ballads underway since the 1960s. In addition, the emotional excesses of the power ballad fit into a larger change in the expressive tone of works across different popular culture media. With those works, emotions are to be large, ecstatic and immediate.

scholarly journals Improvement of music education employing innovative methods

Pedagogika ◽  
2014 ◽  
Vol 113 (1) ◽  
pp. 100-111
Author(s):  
Asta Rauduvaitė
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Personal Meaning ◽  
School Age Children ◽  
School Students ◽  
Innovative Methods ◽  
Constant Change ◽  
History Of ◽  
Integral Process ◽  
Education Today

The article discusses possibilities for improvement of music education employing innovative methods of personal meaning and emotional imitation: the topicality of this process while developing value-based attitudes of junior school age children and integrating popular music in the context of theories of pedagogical thought development is substantiated, following the results of the research, the links of school students’ music activities and formation of value-based principles are discussed as well as possibilities for music education improvement in a contemporary school.On the basis of scientific literature analysis, education at present is perceived as an integral process of constant change and continuity, which is purposefully directed towards improvement of relations of an individual with the surrounding world. History of human culture and accumulatedpedagogical experience serve as foundation for general music education today, for linking of past and present values of music culture as well as for their nurturance.A considerable number of researchers in general pedagogy tend to ascribe a very important educative function to music but the role of popular music, as a modern cultural phenomenon, remains unrevealed. The conducted research allows to conclude that striving for improvement of content of traditional music education, the methods of personal meaning and emotional imitation are acceptable to develop value-based principles of junior school children through integration of popular music. The idea of personal meaning method enables learners to communicate with music in a way, which creates preconditions for better cognition of oneself and others.Method of emotional imitation enables a learner to pursue a higher goal, i.e., an ability to live using personally created feelings and thoughts. All this is as if a music-based pretext to communicate with oneself and with others creating a possibility for turning back and looking forward. Thus, not only individuality of cognition but also a value-based attitude of a perceiver are revealed.

The Oxford Handbook of Popular Music in the Nordic Countries

2017 ◽  
Keyword(s):  
Popular Music ◽  
North Atlantic ◽  
Nordic Countries ◽  
Northern Europe ◽  
Public Performance ◽  
Large Area ◽  
National Narratives ◽  
The North ◽  
Show Evidence ◽  
History Of

The Nordic countries, a group of countries spanning a large area of northern Europe and the North Atlantic, present unique natural and cultural environments in which popular music has come to play a significant role. Research on the region’s music has largely followed national narratives and ignored more complex geographies and transcultural issues. This first handbook of music in the Nordic countries explores the significance of popular music in the history of the region, with implications for broader debates about the region’s uniqueness and its future. The chapters highlight music’s place in media and tourism industries, in sustaining exotic images of the North, but also in more serious issues such as racism and environmentalism. Many of the chapters show evidence of nationalist and xenophobic responses to emerging transnational to emerging transnational developments. The handbook examines how these dynamics shape music and its place in history, education, and in public performance, from street performances to festivals, and beyond to mass media ceremonial events. The case studies illustrate popular music’s significance in evolving lifestyles, technologies, and institutions in modernity.

A Pluralist Approach to Music Education

2017 ◽  
pp. 420-430
Author(s):  
James Humberstone
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Creative Processes ◽  
Music Classroom ◽  
The Core ◽  
Music Genres ◽  
Time To Learn ◽  
Pluralist Approach ◽  
The Way

This chapter engages with the Core Perspectives and Provocations by proposing that it is possible to revolutionize music education by engaging with the kind of music made with technology that Ethan Hein advocates in chapter 36; but at the same time, not to abandon what we know about tried and tested music pedagogies. It proposes that the way to do this is to take a truly pluralist approach to music, one that embraces all genres, especially popular music genres, by taking the time to learn about them and legitimize them in the music classroom. Recent research on the creative processes of traditional composers and DJs reveals that technology directly affects both, and this understanding, alongside Barbara Freedman’s approach, which allows students to lead with technology, breaks down the borders that prevent such a pluralist approach from being taken. The chapter concludes that such barriers have already been broken in the professional, metamodern musical world.

Introduction

2017 ◽  
Author(s):  
Fabian Holt
Keyword(s):  
Social Science ◽  
Popular Music ◽  
Intellectual History ◽  
Final Section ◽  
Nordic Countries ◽  
Focal Points ◽  
Global Presence ◽  
Musical Knowledge ◽  
History Of ◽  
The Individual

This chapter introduces new analytical framings of popular music in the Nordic countries and the implications therefore for broader discussions of the region’s uniqueness and global presence. The introduction first develops a broad interpretative narrative a broad interpretative narrative grounded in social science and considers its implications for existing cultural and disciplinary narratives. The second part closes in on more detailed issues of musical knowledge, drawing from the intellectual history of music, particularly musicology, while also integrating lessons from other disciplines such as geography. The specific focal points of the second part are the three thematic dimensions of the handbook—geography, history, and identity. Moreover, the literatures on Nordic popular music are discussed in detail. The final section introduces the individual chapter contributions.

The Guatemalan Genocide Through Indigenous Mayan Literature Twenty Years After the Peace Accords: Rigoberta Menchú, Humberto Ak´Abal and Victor Montejo

2017 ◽  
Vol 7 (1) ◽  
pp. 31
Author(s):  
David Caballero Mariscal
Keyword(s):  
Social Exclusion ◽  
Dark Period ◽  
Social Situation ◽  
Point Of View ◽  
Contemporary History ◽  
Rigoberta Menchu ◽  
Testimonial Literature ◽  
History Of ◽  
Peace Accords ◽  
Historical Truth

Guatemala experienced a cruel genocide in the early eighties, in the context of a repressive Conflict. Due to the different governments´ repressive policies, this terrible social situation was little known abroad, and even in the own country. Just after the Peace Accords, several organisms worked to uncover the historical truth. In any case, we cannot forget that testimonial literature is a privileged mean to know this dark period of the contemporary history of Guatemala. This genre is particularly relevant, because the main writers are originally Mayans, and have directly suffered both repression and social exclusion due to ethnic reasons. Rigoberta Menchú, Unmberto Ak´abal and Víctor Montejo represent a new and original point of view in the measure in which they describe feelings and situations from the perspective of those who experience them personally. Testimonial literature or the Testimonio becomes an ethnographic document that allows us to know not just a period but a people who have suffered from repression and exclusion for centuries.

History of Education Policymaking in India, 1947-2016

2018 ◽  
Author(s):  
R.V. Vaidyanatha Ayyar
Keyword(s):  
Education Policy ◽  
History Of Education ◽  
Indian Education ◽  
The Political ◽  
Education Policies ◽  
Historical Perspectives ◽  
Education Commission ◽  
History Of ◽  
Judicial Policymaking ◽  
Political Economic

This book chronicles the history of education policymaking in India. The focus of the book is on the period from 1964 when the landmark Kothari Commission was constituted; however, to put the policy developments in this period into perspective major developments since the Indian Education Commission (1882) have been touched upon. The distinctiveness of the book lies in the rare insights which come from the author’s experience of making policy at the state, national and international levels; it is also the first book on the making of Indian education policy which brings to bear on the narrative comparative and historical perspectives it, which pays attention to the process and politics of policymaking and the larger setting –the political and policy environment- in which policies were made at different points of time, which attempts to subject regulation of education to a systematic analyses the way regulation of utilities or business or environment had been, and integrates judicial policymaking with the making and implementation of education policies. In fact for the period subsequent to 1979, there have been articles- may be a book or two- on some aspects of these developments individually; however, there is no comprehensive narrative that covers developments as a whole and places them against the backdrop of national and global political, economic, and educational developments.

The Musicality of Canadian Cinema

2019 ◽  
pp. 390-408
Author(s):  
Michael Brendan Baker
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
National Cinema ◽  
Avant Garde ◽  
Institutional Forces ◽  
History Of ◽  
Narrative Account

This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.

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