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.

East meets West: Investigating the state of DJing culture and turntablism pedagogy in China

2021 ◽  
pp. 025576142199081
Author(s):  
Rhythy Quin
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Performance ◽  
Independent Learning ◽  
Performance Practices ◽  
Political Values ◽  
Music Classroom ◽  
Music Practice ◽  
Chinese Music ◽  
Self Discovery

In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education.

Teaching the Core Arts Standards in Modern Band

2021 ◽  
Vol 108 (1) ◽  
pp. 25-33
Author(s):  
Matthew Clauhs ◽  
Bryan Powell
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Performance Standards ◽  
The United States ◽  
Music Programs ◽  
The Core ◽  
Grade Levels ◽  
Band Class ◽  
National Coalition ◽  
New Framework

The National Coalition for Core Arts Standards released standards for music education in 2014. These standards are guided by artistic processes and measured by performance standards specific to content areas and grade levels. As school districts in the United States adopt the Core Arts Standards for their music programs, it is imperative that modern band teachers demonstrate how their curriculum aligns with this new framework. Modern band is one approach to popular music education that is particularly well suited to address this new framework; the emphases of songwriting, improvising, critical listening, and group work in a learner-centered modern band class/ensemble are associated with a wide variety of standards. This article explores connections between popular music pedagogies and each of the processes in the Core Arts Standards and examines which standards may be most appropriate for modern band contexts.

scholarly journals General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles

2019 ◽  
Vol 33 (1) ◽  
pp. 6-14
Author(s):  
Virginia Wayman Davis ◽  
Laura Singletary ◽  
Kimberly VanWeelden
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Practical Experience ◽  
Upper Elementary ◽  
Elementary Music ◽  
General Music ◽  
Music Classroom ◽  
Music Ensembles ◽  
Music Class ◽  
Instrumental Ensembles

In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.

Music in Mexico City, 1880–1960

2016 ◽  
Author(s):  
Ricardo Pérez Montfort
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Mexico City ◽  
Urban Center ◽  
Late 19Th Century ◽  
Music Genres ◽  
The Way ◽  
Musical Styles

From the late 19th century to the mid-20th century, Mexican popular music underwent a significant transformation, thanks to the growth of Mexico City as an urban center and to the influence of both regional and international music genres. At the same time, the Mexican public experienced a profound shift in the way music was consumed. Over the course of five generations, traditional modes of encountering music gave way to a more cosmopolitan enjoyment of new and old musical styles.

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.

Popular music education and American democracy: Why I coined the term ‘modern band’ and the road ahead

2020 ◽  
Vol 4 (1) ◽  
pp. 117-125 ◽  
Author(s):  
Dave Wish
Keyword(s):  
Music Education ◽  
Popular Music ◽  
School Teacher ◽  
The United States ◽  
American Music ◽  
American Democracy ◽  
Non Profit ◽  
The Road ◽  
The Core ◽  
School Music

In this article, the author, the founder and CEO of Little Kids Rock, describes how his early work as an elementary school teacher providing an extracurricular guitar club, evolved into him founding a music education non-profit organization. By inventing the term ‘modern band’ and joining nationwide leading efforts for systemic change in US American music education, the author tries to place popular music conceptually and pedagogically at the core of school music programmes. The author briefly describes the causes of the exclusion of popular music from school music programmes before arguing that modern band can help to democratize school music education by making it culturally relevant, student-centred and inclusive. The article concludes with the author’s hopes for the future of music education in the United States.

Popular Music Genres, Music Producers, and Song Creation in the General Music Classroom

2017 ◽  
Vol 31 (2) ◽  
pp. 17-20 ◽  
Author(s):  
Shane Colquhoun
Keyword(s):  
Popular Music ◽  
Teaching Strategies ◽  
Music Educators ◽  
Music Students ◽  
General Music ◽  
Music Classroom ◽  
Music Genres ◽  
Popular Songs

In secondary general music classes, music educators have the opportunity to bridge the gap between the music students’ experiences in school and the music they engage with outside of school. According to Williams, nontraditional music students have musical lives outside of school but choose not to participate in traditional ensembles. In this article, I explore three teaching strategies that can be used to engage students with popular music. These strategies are through studying music genres, studying music producers, and listening to popular songs to distinguish if a song is a remake, cover, sample, remix, or an original song.

Progressive Trends in Curricular Change

2017 ◽  
Author(s):  
Robin D. Moore ◽  
Juan Agudelo ◽  
Katie Chapman ◽  
Carlos Dávalos ◽  
Hannah Durham ◽  
...  
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Programs ◽  
Curricular Change ◽  
Curricular Reform ◽  
The Core ◽  
Core Courses ◽  
Entrepreneurial Training ◽  
International Exchanges

This chapter investigates the general curricular requirements of two of the most popular music degrees undertaken by undergraduates—performance and music education—in order to consider how current coursework could be reconfigured into a more student-driven, inclusive framework that reflects the dynamics and needs of modern musical careers. In looking at the core courses as well as the upper-division, more specialized courses in each particular major, we address questions such as how to streamline core courses, how to allow students to have more active roles their degree trajectories without increasing the time it takes to graduate, and how to use the current degree models as jumping-off points for curricular reform. Specifically, the chapter examines representative music programs that have already successfully implemented curricula in entrepreneurial training, cross-disciplinary collaboration, and international exchanges, among other areas.

From Jazz to Pop

2016 ◽  
Author(s):  
David Brackett
Keyword(s):  
World War Ii ◽  
African Americans ◽  
Popular Music ◽  
Minority Groups ◽  
Racial Stereotypes ◽  
World War ◽  
Music Genres ◽  
The Way

“Swing,” as the most commercially successful variety of jazz, became the mainstream of popular music during the late 1930s. The growth in popularity of jukeboxes broadened the popular music field, facilitating greater involvement of African Americans, and paving the way for the success of swing and the greater tracking of race records. The contrasting histories of two versions of “Tuxedo Junction,” one by Erskine Hawkins and one by Glenn Miller, are used to highlight the intertwining of aesthetics, race, and how popularity was discussed and represented at the time. After World War II, swing declined in popularity, resulting in a reshuffling of the hierarchy of popular music genres. The Count Basie novelty recording of “Open the Door, Richard” illustrates the reduced opportunities for African Americans in mainstream popular music, in which recordings associated with African Americans and other minority groups evoked minstrelsy and/or relied on racial stereotypes.

Aglaya Play: Designing a software solution for group compositions in the music classroom

2021 ◽  
Vol 13 (2-3) ◽  
pp. 239-261 ◽  
Author(s):  
Adolf Murillo ◽  
María Elena Riaño ◽  
Jesús Tejada
Keyword(s):  
Music Education ◽  
Basic Needs ◽  
Full Description ◽  
Software System ◽  
Creative Processes ◽  
Design Based Research ◽  
Research Perspective ◽  
Music Classroom ◽  
Cooperative Strategies ◽  
Group Compositions

This article details the design for Aglaya Play, a proposed software system that aims to meet three basic needs in the music classroom: the incorporation of creative processes, the adoption of collaborative-cooperative strategies and the reduction of reading–writing- and theory-based learning in the early stages of music education. The text contextualizes the needs that the software intends to meet and describes its phases of construction from a design-based research perspective. Finally, a full description of the system is offered based on its functions, and suggestions for its didactic implementation are provided.

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