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.

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.

Integrating Social-Emotional Learning Into Our “New Normal” Teaching Elementary General Music

2020 ◽  
pp. 104837132096137
Author(s):  
Taryn Raschdorf ◽  
Brittany Nixon May ◽  
Amie Searcy
Keyword(s):  
Music Teachers ◽  
Social Emotional Learning ◽  
Music Educators ◽  
Emotional Learning ◽  
General Music ◽  
Music Curriculum ◽  
Social Emotional ◽  
Building Relationships ◽  
Music Classroom ◽  
Elementary General Music

As social-emotional learning (SEL) initiatives are being adopted by many states and school districts, many music teachers have been actively and successfully integrating SEL into their elementary general music curriculum. Whether teaching in person or remotely music educators can create an environment conducive to SEL by practicing mindfulness, building relationships with and between students, encouraging family music engagement, and engaging in inclusive music activities. In this column, you will find resources and ideas about SEL, discover how it looks and functions in the music classroom (virtual or not), and hear from music educators who currently incorporate SEL in their teaching.

Traditional Japanese Music in Contemporary Times

2020 ◽  
Vol 33 (3) ◽  
pp. 52-57
Author(s):  
Karen Howard
Keyword(s):  
Popular Music ◽  
Educational Experience ◽  
Music Educators ◽  
General Music ◽  
Learning Program ◽  
Stringed Instrument ◽  
Japanese Music ◽  
Dramatic Music ◽  
Court Music ◽  
Bamboo Flute

Music in Japan is richly varied and includes documented genres dating back more than 1000 years. From classical court music known as gagaku, to the dramatic music plays in kabuki, to contemporary J-pop (subgenre of popular music), educators can find a sound to suit every instructional need. The focus here will be on considerations of three traditional instruments used in Japan: the koto (zither), shakuhachi (bamboo flute), and shamisen (three-stringed instrument), and a unique educational experience for those interested in studying these traditions. The learning program is offered through a koto school in Tokyo that is more than a century old, and they now offer a course in English every other summer. Also offered are suggestions for incorporating traditional Japanese music into elementary and secondary general music settings.

Practice Rooms and Practice Fields: Connections in Character Development

2021 ◽  
Vol 107 (4) ◽  
pp. 35-41
Author(s):  
Jared B. Critchfield
Keyword(s):  
Music Education ◽  
Student Perceptions ◽  
Character Development ◽  
Music Teachers ◽  
Music Educators ◽  
Music Students ◽  
Related Field ◽  
Music Classroom ◽  
Moral Atmosphere ◽  
Positive Character

Most music teachers desire to positively influence the development of their students’ character; however, the practicalities of doing so have been understudied in music education. This article draws on research from the related field of sports education and presents possible strategies for developing strong character in music students. Cultivating a moral atmosphere, developing a teaching orientation that encourages student mastery, and listening to student perceptions about their experience in the music classroom are research-driven approaches that music educators can use to encourage positive character development in music students.

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.

Savoring the Artistic Experience in an Age of Commodification

2017 ◽  
pp. 50-56
Author(s):  
Chee-Hoo Lum
Keyword(s):  
Popular Music ◽  
Music Educators ◽  
Aesthetic Experiences ◽  
Music Classroom ◽  
Artistic Experience ◽  
Digital Learners ◽  
Cultural Voices ◽  
Technological Space ◽  
Musical Activities

This chapter brings forth the ideas of savoring, commodification, and learning within a multimedia, multiarts environment as food for thought for music educators working toward engaging learners in the technological space of music. First, the chapter presents the concept of savoring, with attention to the development of aesthetic experiences by critically scaffolding and facilitating musical activities for digital learners and engaging them musically amid their growing hunger for technological music commodities. Second, it recommends paying attention to popular music and glocalized representations and being cognizant of marginalized musical cultural voices because of the proliferation of commodified musics. Third, it discusses the provision for multimedia and multiarts experiences and activities within the music classroom.

Can they hear a difference? Professional digital composition and the ability of music students to discriminate deep-sampled vs. acoustic instrumental performance recordings

2020 ◽  
Vol 4 (1) ◽  
pp. 81-99 ◽  
Author(s):  
José Valentino Ruiz ◽  
Patrick K. Cooper ◽  
Jalil Najeeb Muhammed
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Exploratory Study ◽  
Music Educators ◽  
Music Students ◽  
Instrumental Performance ◽  
Live Performance ◽  
Industry Standard ◽  
Standard Production

The majority of popular music is produced utilizing deep-sampled instruments. This may be important for music educators to understand as the ability to expertly manipulate deep-samples to sound like live performance is an expected industry standard. The purpose of this exploratory study was to evaluate the ability of music students (n=96) and professors (n=9) to discriminate between deep-sampled and acoustic recordings and to explore why they believed recordings were composed with deep-samples or were live acoustic performances. Results indicate weak ability of participants to discriminate between deep-sampled and acoustic recordings. Essay responses indicate participants doubted such refined and expressive recordings were possible using deep-sampled instruments. Implications for music education include reconsidering skills that students and their teachers need to strive towards industry-standard production.

Characteristics of Early Childhood and Elementary General Music Methods Coursework for Preservice Music Teachers

2021 ◽  
pp. 105708372110245
Author(s):  
Karen Salvador ◽  
Mara E. Culp
Keyword(s):  
Early Childhood ◽  
Teacher Candidates ◽  
Music Teachers ◽  
Music Educators ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
General Music ◽  
Music Teacher Education ◽  
Music Methods ◽  
Elementary General Music

Although many music teacher candidates begin university studies planning to teach secondary ensembles, most will ultimately be certified to teach younger children and may be called to do so. The purpose of this study was to examine how music teacher education programs prepare preservice music educators to teach music to children from birth through elementary school through coursework. We emailed survey invitations to representatives from 512 institutions accredited by the National Association of Schools of Music to prepare music educators. We received 134 usable responses (response rate = 26%). Nearly all respondents offered elementary general music methods (EGMM), and over three quarters required EGMM for all students in initial licensure programs. Only about one in ten responding institutions offered early childhood music methods (ECMM). We describe findings on EGMM and ECMM course structures, content, and materials as well as the employment status, degree background, and other qualifications of the person who typically taught this coursework

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

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.

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