Feeling to Learn: Ideologies of Race, Aurality, and Manouche Music Pedagogy in France

2021 ◽  
Author(s):  
Siv B. Lie
Keyword(s):  
Music Pedagogy

Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures

2020 ◽  
pp. 39-63
Author(s):  
Evan S. Tobias
Keyword(s):  
Social Media ◽  
Music Educators ◽  
Participatory Culture ◽  
Music Pedagogy ◽  
Music Learning ◽  
Media Arts ◽  
Learning And Teaching ◽  
Musical Engagement ◽  
Musical Practices ◽  
Pedagogy And Curriculum

Contemporary society is rich with diverse musics and musical practices, many of which are supported or shared via digital and social media. Music educators might address such forms of musical engagement to diversify what occurs in music programs. Realizing the possibilities of social media and addressing issues that might be problematic for music learning and teaching calls for conceptualizing social media in a more expansive manner than focusing on the technology itself. Situating people’s social media use and musical engagement in a larger context of participatory culture that involves music and media may be fruitful in this regard. We might then consider the potential of social media and musical engagement in participatory cultures for music learning and teaching. This chapter offers an overview of how people are applying aspects of participatory culture and social media in educational contexts. Building on work in media studies, media arts, education, and curricular theory, the chapter develops a framework for translating and recontextualizing participatory culture, musical engagement, and social media in ways that might inform music pedagogy and curriculum. In this way, it may help music educators move from an awareness of how people engage with and through music and social media in participatory culture to an orientation of developing related praxis.

Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments

2020 ◽  
Vol 19 (3) ◽  
pp. 68-75
Author(s):  
N.I. Anufrieva ◽  
◽  
A.P. Efremenko ◽  
Keyword(s):  
Training Programs ◽  
Traditional Approach ◽  
Teaching Methodology ◽  
Music Pedagogy ◽  
Folk Culture ◽  
University Teachers ◽  
Avant Garde ◽  
Musical Education ◽  
Musical Works ◽  
Educational Potential

the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.

scholarly journals Exercising Musical Minds: Phrenology and Music Pedagogy in London circa 1830

2015 ◽  
Vol 39 (2) ◽  
pp. 99-124
Author(s):  
David Trippett
Keyword(s):  
Music Pedagogy ◽  
Journal Articles ◽  
Creative Imagination ◽  
Early Nineteenth Century ◽  
Popular Appeal ◽  
Life Of The Mind ◽  
Dynamical Nature ◽  
Loss Of Contact ◽  
The Mind ◽  
The Cost

The icon of the machine in early-nineteenth-century Britain was subject to a number of contemporary critiques in which pedagogy and the life of the mind were implicated, but to what extent was education in music composition influenced by this? A number of journal articles appeared on the topic of music and phrenology, bolstered by the establishment of the London Phrenological Society (1823), and its sister organization, the British Phrenological Association (1838). They placed the creative imagination, music, and the “natural” life of the mind into a fraught discourse around music and materialism. The cost of a material mind was a perceived loss of contact with the “gifts of naturer … the dynamical nature of man … the mystic depths of man's soul” (Carlyle), but the concept of machine was also invested with magical potential to transform matter, to generate energy, and can be understood as a new ideal type of mechanism. These confliciting ideals and anxieties over mechanism, as paradigm and rallying cry, are here situated in the context of music pedagogy during the second quarter of the century, with particular reference to amateur musicians and the popular appeal of phrenological “exercise,” and of devices such as Johann Bernhard Logier's “chiroplast.”

Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives

2018 ◽  
Vol 35 (3) ◽  
pp. 301-319
Author(s):  
Hoon Hong Ng
Keyword(s):  
Public Schools ◽  
Popular Music ◽  
Music Teachers ◽  
Secondary School Teachers ◽  
Traditional Music ◽  
Music Teaching ◽  
Music Pedagogy ◽  
Youth Cultures ◽  
Secondary Classroom ◽  
Teachers Perspectives

The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.

From Veracruz to Los Angeles: The Tradition of Son Jarocho

2021 ◽  
Vol 35 (2) ◽  
pp. 39-42
Author(s):  
Karen Howard
Keyword(s):  
Los Angeles ◽  
Civil Rights ◽  
The United States ◽  
World Music ◽  
School Level ◽  
General Music ◽  
Music Pedagogy ◽  
Mexican Music ◽  
World Music Pedagogy ◽  
Son Jarocho

The African Mexican music tradition of son jarocho comes from the Veracruz region of Mexico. As a performance practice, son jarocho has strong ties to social justice and civil rights, and is a thriving genre both in Mexico and in the United States. This article includes teaching suggestions for guitar or ukulele lessons in general music settings for elementary or middle school level students. The phases of World Music Pedagogy are applied to several son jarocho resources.

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