Music Technology Pedagogy and Curricula

2017 ◽  
pp. 632-646
Author(s):  
David A. Williams
Keyword(s):  
Preservice Teachers ◽  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Music Technology ◽  
Technology Skills ◽  
Pedagogical Approach ◽  
Student Autonomy ◽  
Learner Centered ◽  
Education Profession

Equipping in-service and preservice teachers with music technology skills is a matter for concern within the music education profession. There is, however, an even more important issue affecting the use of music technologies in schools. This has to do with the pedagogy we employ in our classrooms. Curricular possibilities employing learner-centered and informal learning pedagogies are explored in this chapter, and one particular model that relies heavily on student autonomy is detailed. This pedagogical approach shares much in common with how individuals make music in popular music settings outside schools.

Informal learning of popular music: gender monoglossia and heteroglossia

2020 ◽  
pp. 1-15
Author(s):  
Alison Butler ◽  
Kelly Bylica ◽  
Ruth Wright
Keyword(s):  
Elementary School ◽  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Small Scale ◽  
Southern Ontario ◽  
Explanatory Framework ◽  
Gendered Patterns ◽  
Patterns Of Practice

Abstract This paper reports on a small-scale study in an elementary school in Southern Ontario, Canada. The study investigated relationships between students’ perceptions and practices of gender in popular music education with particular attention given to communication, instruments and technology and development of freedoms and constraints. The findings present a more opaque picture than previous research, suggesting that students frequently transgress binary gendered patterns of practice and perception in this particular field. Gender monoglossia and heteroglossia provide a useful explanatory framework for analysis, indicating that further application of these concepts to issues in popular music education might be most fruitful.

Why Isn’t Music Education in the United States More Twenty-First-Century PC?

2017 ◽  
pp. 648-654
Author(s):  
Barbara Freedman
Keyword(s):  
Preservice Teachers ◽  
Music Education ◽  
The United States ◽  
Music Technology ◽  
First Century ◽  
Class Culture ◽  
Economic Class ◽  
The Core ◽  
Technological Competence ◽  
Musical Cultures

This chapter addresses three themes in the Core Perspectives. First, it argues that preservice teachers should be trained in music technology and technology pedagogy as one would train preservice teachers on brass, woodwinds, percussion, or piano. Second, she suggests that in-service teachers are the experts in their classrooms, regardless of their preexisting competence with any individual subdomain—brass, percussion, or, in this case, technology. Just as experienced band teachers have no problem asking their advanced trumpet player students to help the beginning trumpet player students, teachers can similarly capitalize on students with technological competence. Third, the chapter argues that the U.S. music education system, K-university, is implicitly skewed toward middle to upper economic class culture and, by nature, disinherits those who seek to engage in other musical cultures. Technology, she suggests, is an excellent way to better meet the needs of all students.

scholarly journals Teaching Aesthetics – A Case Study of One-To-One Tuition in Popular Electronic Music in Higher Education

2020 ◽  
pp. 257-278
Author(s):  
Eirik Sørbø ◽  
Andreas Waaler Røshol
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Electronic Music ◽  
Classical Music ◽  
Teaching Practice ◽  
Educational Framework ◽  
One To One ◽  
The University

Research regarding informal learning over the last few decades has shown how popular musicians acquire skills and knowledge through informal learning, suggesting new methods for formal music education compared to the structures of western classical music. Today, the realm of popular electronic music education faces some similar challenges that popular music education initially did; new ways of informal learning, and a different and diverse knowledge base for the students entering popular music programs. Related to these challenges is the question of how to teach one-to-one tuition in higher electronic music education, and this article seeks to address this challenge. We present a case-study of the practice of a teacher at the University of Agder in Norway that teaches electronics in one-to-one tuition, where the research data is based on interviewing this teacher and his students. An important aspect of the practice in question is the process of listening to and discussing the student’s original recorded music. We discuss some of the challenges of one-to-one teaching in electronic music education, and argue that this particular teaching approach accommodates some of these challenges. Bringing in the educational framework of Biesta, we argue that this form of teaching practice also facilitates subjectification by addressing both uniqueness and expression. Further, we argue that this practice, which focuses on the teaching of aesthetics instead of technicalities, combined with the development of the students’ unique artistic expression can open some interesting possibilities related to addressing subjectivity in higher music education. One of these is how the students need to articulate both the objectives and aims within their music, and the objectives and aims of their music, which in turn develops a terminology to talk about and beyond aesthetics.

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.

Perceptions and Preparedness: Preservice Music Educators and Popular Music Teaching Skills

2020 ◽  
pp. 875512332095794
Author(s):  
Rachel Sorenson
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Music Educators ◽  
Music Instruction ◽  
Comfort Level ◽  
Teaching Skills ◽  
Music Software ◽  
Learning Practices ◽  
Music Education Majors

The purpose of this study was to examine the perceptions of undergraduate music education majors regarding the skills needed to teach popular music classes, and their comfort level with those skills. Preservice music educators ( N = 81) completed a researcher-designed questionnaire describing their previous experiences with popular music, their perceptions of necessary teaching skills for popular music instruction, their comfort level with those skills, and their overall feelings of preparedness to teach popular music. Respondents rated the teaching skills of ear training, piano/keyboard, and informal learning practices as most important. In addition, respondents indicated that they were most comfortable with the teaching skills of singing, music theory, and informal learning practices. In general, respondents felt moderately prepared to teach popular music, but many believed they were lacking important knowledge and skills, including proficiency on various instruments, understanding how to integrate popular music, and music software proficiency. Implications for music educators are discussed.

Community music interventions, popular music education and eudaimonia

2021 ◽  
Vol 00 (00) ◽  
pp. 1-23
Author(s):  
Bryan Powell
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Formal Education ◽  
Community Music ◽  
Greek Philosophy ◽  
Human Flourishing ◽  
Music Training ◽  
The Past ◽  
Music Making

The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.

CanRock classroom: Two pre-service teachers’ experiences of a popular music pedagogy course in Canada

2019 ◽  
Vol 3 (3) ◽  
pp. 451-468 ◽  
Author(s):  
Adam Patrick Bell ◽  
Ryan Stelter ◽  
Kathleen Ahenda ◽  
Joseph Bahhadi
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Group Dynamics ◽  
Teaching And Learning ◽  
Music Pedagogy ◽  
Related Literature ◽  
Technology And Learning ◽  
Teachers Experiences ◽  
Teachers Perspectives

Research on popular music pedagogy tends to centre on teaching and learning practices related to school-aged students; less research has focused on the training of pre-service teachers. We present the perspectives of two pre-service teachers on their experiences taking the first iteration of a popular music pedagogy course at a university in Canada as part of their music education studies. The examination we present is limited to one site and two pre-service teachers’ perspectives, but focuses on some important themes including group dynamics, songwriting, integrating technology and learning popular music instruments. We begin by surveying some recent related literature on popular music pedagogy before outlining our purpose and method. Then, we detail the underpinning ‘informal learning’ ethos of the course and provide a course description. Finally, we present our findings on the two pre-service teachers’ experiences with the course and conclude with a brief discussion that contextualizes these results with related literature.

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.

scholarly journals Editorial

2020 ◽  
Vol 9 ◽  
pp. i-vi
Author(s):  
Clare Suet Ching Chan
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
The Philippines ◽  
Music Technology

The Malaysian Journal of Music, Volume 9, presents ten articles on issues in ethnomusicology, musicology, composition, music education, popular music and music technology. These issues derive from countries including Japan, Korea, The Philippines, Thailand, Indonesia, the United States and Malaysia.

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