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.

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.

Trans Voices Speak: Suggestions from Trans Educators about Working with Trans Students

2021 ◽  
Vol 108 (1) ◽  
pp. 50-56
Author(s):  
Christopher Cayari ◽  
Felix A. Graham ◽  
Emma Joy Jampole ◽  
Jared O’Leary
Keyword(s):  
Identity Development ◽  
Music Education ◽  
Music Educators ◽  
Gender Nonconforming ◽  
The Past ◽  
Music Making ◽  
Trans People ◽  
The Social ◽  
And Gender ◽  
Music Classrooms

The social climate in the past decade has seen a rise in visibility of trans students in music classrooms and ensembles, leading to a need for scholarship on how to serve this growing population. Literature is being published to address this topic; however, the lack of scholarship by trans educators might lead many music educators to conclusions and practices that can be, at the very least, discouraging to some trans students and may disrupt their learning experiences. This article was written by four educators who identify as part of the trans community (a genderfluid and gender-nonconforming individual, a trans man, a trans woman, and a gender-nonbinary person) to fill this gap in the literature by illuminating some of the pitfalls inherent in the lack of discussion on (and by) trans people in music education. In addition, this article provides five actionable suggestions for working with trans students: (1) Learn about the trans community, (2) inspect your language and biases, (3) represent the diversity of trans people in your teaching, (4) promote healthy music-making and identity development, and (5) model allyship.

Gaming Musical Instruments

2019 ◽  
Vol 5 (2) ◽  
pp. 121-130
Author(s):  
Jan Torge Claussen
Keyword(s):  
Music Education ◽  
Video Game ◽  
Traditional Music ◽  
Musical Instrument ◽  
Game Studies ◽  
Sight Reading ◽  
Specific Context ◽  
Video Recordings ◽  
And Performance ◽  
The Relationship

Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.

No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America

2010 ◽  
Vol 4 (4) ◽  
pp. 509-520
Author(s):  
EARLE HITCHNER
Keyword(s):  
Music Industry ◽  
Traditional Music ◽  
Internet Technology ◽  
Downward Trend ◽  
Paradigm Shifts ◽  
Sharp Decline ◽  
The Past ◽  
Music Making ◽  
Irish America ◽  
Do It Yourself

AbstractThe emergence of the compact disc in 1979 was regarded as the likely sales salvation of recorded music, and for many years the CD reigned supreme, generating steady, often substantial, company profits. More recently, however, the music industry has painfully slipped a disc. The CD has been in sharp decline, propelled mainly by young consumer ire over price and format inflexibility and by Internet technology available to skirt or subvert both. Irish American traditional music has not been impervious to this downward trend in sales and to other challenging trends and paradigm shifts in recording and performing. Amid the tumult, Irish American traditional music has nevertheless shown a new resilience and fresh vitality through a greater do-it-yourself, do-more-with-less spirit of recording, even for established small labels. The five recent albums of Irish American traditional music reviewed here—three of which were released by the artists themselves—exemplify a trend of their own, preserving the best of the past without slavishly replicating it. If the new mantra of music making is adapt or disappear, then Irish American traditional music, in adapting to change free of any impulse to dumb down, is assured of robustly enduring.

scholarly journals Vocal Education in Kazan: From Amateur Music Playing to Professional Training

2021 ◽  
Vol 9 (SPE2) ◽  
Author(s):  
Yulia Aleksandrovna Martynova ◽  
Dmitry Yevgenyevich Martynov ◽  
Alina Mikhailovna Sukhova ◽  
Leila Aivazovna Nurgalieva
Keyword(s):  
Music Education ◽  
Professional Training ◽  
Music Teachers ◽  
Cultural Center ◽  
Professional Performance ◽  
Music Making ◽  
And Performance ◽  
Gathering Place ◽  
Xix Century ◽  
Historical Methods

The article is devoted to vocal education in Kazan as part of a general cultural process. Kazan as “a gathering place of two worlds – the Western and the Eastern”, was the leading music and cultural center. This city was simultaneously one of the largest provincial centers of Russian culture, and Muslim Tatar’s. During the XIX century in Kazan not only amateur music-making was actively developed but also were created music-public associations and private music teachers became widespread. The concert and performance in Kazan inevitably went through single phases and stages of development common to the whole country. Over time, amateur performance gives way to professional performance. The article is used a set of humanitarian and historical methods. The materials may be interesting for researchers of music education in Russia, as well as Russian provincial culture.

Assessing Music Learning Through Composition

2019 ◽  
pp. 610-628
Author(s):  
Clint Randles
Keyword(s):  
United States ◽  
New Media ◽  
Music Education ◽  
The United States ◽  
First Century ◽  
Music Learning ◽  
The Past ◽  
The United Kingdom ◽  
The World ◽  
Summative Feedback

The proliferation of the use of new media and creativities are expanding the ways that humans engage creatively with music in the twenty-first century. As teachers and researchers, our methods of assessing these creativities need to expand as well. In this chapter the author points to some of the ways that music education has traditionally conceived of both creativity and the measurement of compositional activity in the classroom. However, it should be clear that formative, summative, feedback, diagnostic, and evaluative assessment are all necessary and vital to understanding and justifying the place of composition learning in music education, and that we as a profession have not done an adequate job of it in the past. Some countries, such as the United Kingdom, Finland, and Australia, have done a better job of creating curricular space for composition than the United States. The rest of the world can learn from these successes.

The ambivalence of becoming a small business: Learning processes within an aspiring rock band

Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 585-599
Author(s):  
Tobias Malm
Keyword(s):  
Small Business ◽  
Music Education ◽  
Popular Music ◽  
Research Area ◽  
Learning Processes ◽  
Organisational Form ◽  
Rock Band ◽  
Popular Music Studies ◽  
Music Making ◽  
The Social

The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music studies (Cohen 1993; Kirschner 1998; Lashua 2017; Weston 2017; Kielich 2018). Therefore, in this article I will focus on an aspiring rock band's informal learning processes in becoming a small business together. The study provides insights into the educational and organisational aspects of band practices and contributes to the fields of popular music, education and organisation studies – fields that are converging in the emerging interdisciplinary research area of ‘organising music-making’ (Beech and Gilmore 2015).

scholarly journals Enlightenment of Confucian Thoughts of Music Education on Contemporary General Music Education

2020 ◽  
Vol 4 (2) ◽  
pp. 35-39
Author(s):  
Chenghai Yang
Keyword(s):  
Music Education ◽  
Traditional Music ◽  
Traditional Education ◽  
Aesthetic Education ◽  
Quality Education ◽  
General Music ◽  
Music Culture ◽  
Continuous Development ◽  
Education Today ◽  
Education In China

In the pre-Qin period, Confucius proposed six subjects namely the etiquette, music, archery, driving, literacy, and calculation. Among the six subjects, music was ranked the second. Among them, traditional education in China can fully reflect the importance of music education, and the essence and core of music education can be reflected from the requirements of aesthetic education. In recent years, with the continuous development and improvement of production and life, the theme of education in today's society has changed, and quality education is the center and focus of education today. Moreover, people begin to focus on how to inherit and publicize the traditional music culture. As the music culture is of great importance, many people are encouraged to continue to practice and publicize the traditional music. The main point of this article is Confucian theory of music education.

Music and Mass Media in the Arab Persian Gulf

2006 ◽  
Vol 40 (2) ◽  
pp. 213-222 ◽  
Author(s):  
Laith Ulaby
Keyword(s):  
Mass Media ◽  
Video Game ◽  
Persian Gulf ◽  
Traditional Music ◽  
Support Networks ◽  
Recent Past ◽  
The Past ◽  
Music Making ◽  
Internet Connections ◽  
Video Game Consoles

In the past, the majlis or dıwanıyah a sitting room used for socializing in many Gulf homes, was often a place of music-making. In recent years, however, the ‘ud, duff, and tabl have been supplanted by satellite TV, Wi-Fi Internet connections, and video game consoles. Other long-established music-making contexts in the Gulf have also disappeared, particularly songs associated with maritime occupations that were such an intrinsic part of life in the recent past. Some of these songs were performed as accompaniments to tasks on ships, such as pulling up the anchor or setting the sail, whereas others were songs of supplication, asking God for protection from the perils of the seas (Al-Taee 2005). Traditional music in the region has also suffered from the breakdown of original patronage systems, as wealthy merchants now seek to invest in skyscrapers and artificially created islands rather than support musical ensembles. With the disappearance of these traditional music-making contexts and support networks, mass media has increasingly become the primary mode of experiencing music, both old and new, in the region.

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.

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