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.

The Community Music Facilitator and School Music Education

2012 ◽  
pp. 494-511 ◽  
Author(s):  
Lee Higgins ◽  
Brydie-Leigh Bartleet
Keyword(s):  
Learning Styles ◽  
Music Education ◽  
School Environment ◽  
Formal Education ◽  
Music Educators ◽  
Community Music ◽  
Music Making ◽  
Wide Range ◽  
School Music ◽  
Pedagogical Models

Community music facilitators move in and between many diverse settings. They can be found facilitating local music activities in arts centers, schools, sporting grounds, recording studios, places of worship, living rooms, and a wide range of other community contexts. This article focuses on community music facilitators who have been invited into the school environment to stimulate or establish active music-making opportunities. It shows that community music facilitators can provide music educators working in schools with models of a range of teaching practices, which can connect to a wide diversity of learning styles, especially in socially and culturally diverse environments. Likewise, music educators working in schools (who tend to have formal education qualifications) can provide pedagogical models for community music practices. Both positions have much to offer each other in this respect.

Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

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.

Commentary: Music in the Community

2012 ◽  
pp. 98-103
Author(s):  
David J. Elliott
Keyword(s):  
Music Education ◽  
Community Music ◽  
Music Making ◽  
The People ◽  
The Many ◽  
The Relationship

This article presents an overview of Section 2 of the Oxford Handbook of Music Education, Volume 2. It considers John Dewey's (1927) thoughts on the relationship between the “goods” (values, benefits) of some kind of activity and the nature of “community.” It argues that it is highly unlikely that there will never be a fixed concept or “how-to” of community music. For however and wherever community music is conceived and practiced, this elusive phenomenon continues to evolve and diversify locally and internationally to meet the changing needs of the people it serves today and those it will serve tomorrow. It reinvents itself continuously in relation to the musics and technologies its practitioners and clients desire and appropriate; and, of course, community music matures constantly as community music facilitators deploy their creativity to reframe, adjust, combine, integrate, and overlap existing ways of empowering people to make music for the realization of its many “goods” and the many ways that music making, musical sharing, and musical caring creates “community.”

Measuring pre-service music teachers’ creative identities: a cross-cultural comparison of the United States and Singapore

2019 ◽  
Vol 36 (02) ◽  
pp. 197-210
Author(s):  
Clint Randles ◽  
Leonard Tan
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
Music Performance ◽  
The United States ◽  
Music Listening ◽  
Music Making ◽  
Creative Identity ◽  
Service Music

AbstractThe purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations (n = 274). Items of the CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation and popular music performance. Results suggest, similar to findings of previous research, that while both populations are similar in their degree of creative music-making self-efficacy and are similarly willing to allow for creativity in the classroom, Singaporean pre-service music teachers value the areas of creative identity and the use of popular music listening/performing within the learning environment to a significantly greater extent (p < 0.0001) than their US counterparts.

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.

Equity and Access in Out-of-School Music Making

2017 ◽  
pp. 502-510
Author(s):  
Kylie Peppler
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Learning Spaces ◽  
Music Learning ◽  
Equity And Access ◽  
Music Making ◽  
School Music ◽  
Pathways Model ◽  
Recording Studios ◽  
Out Of School

This chapter focuses on the importance of community to both music education and the ways that youth shape their ideas, interests, and identities in music. Musical learning is rarely, if ever, about a learner operating a new musical technology-based tool in isolation. Music is inherently social, and these influences have a great impact upon the development of musical identities. This chapter explores the ways that out-of-school spaces like those in the Computer Clubhouse Network, YOUmedia, and Musical Futures support social music learning by providing private recording studios that allow youth to assume increasingly public roles as musicians, performers, and producers. The chapter also describes how mixing formal, nonformal, and informal learning spaces helps to develop a youth’s musical maturity through what is known as the “progression pathways model.”

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.

Musical Creativity and Well-Being

2021 ◽  
Author(s):  
Raymond MacDonald ◽  
Graeme Wilson ◽  
Felicity Baker
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Social Engagement ◽  
Spinal Injury ◽  
Well Being ◽  
Community Music ◽  
General Music ◽  
Beneficial Effects ◽  
Music Making ◽  
Musical Engagement

Participating in musical activities involves an immersive spectrum of psychological and social engagement. Connections between musical participation and health have been discussed for centuries, and relationships between the processes of music making and well-being outcomes have garnered considerable research interest. This chapter reviews studies investigating such associations to identify how creative aspects of musical engagement in particular can be understood to enhance health. The chapter begins by offering some suggestions about why these processes may have beneficial effects. Three key contexts for beneficial musical engagement (music education, music therapy, and community music) are examined: an organization (Limelight) that delivers music activities for individuals from disadvantaged groups; group improvisation music therapy sessions for individuals with cancer; and songwriting sessions for individuals following spinal injury. The relative contributions of creative process and creative product are considered, and psychological concepts such as identity, flow, agency, and scaffolding are suggested as important. The discussion extrapolates wider implications of this work to include general music making beyond clinical, educational, and community contexts.

Bubble Tea pop: Christine makes Mandopop

2019 ◽  
Vol 3 (1) ◽  
pp. 29-50 ◽  
Author(s):  
Adam Patrick Bell ◽  
Christine Chen
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Qualitative Method ◽  
Music Making ◽  
Musical Background ◽  
Learning Journey

The purpose of this case study was to examine Christine’s learning journey and music-making processes of songwriting in the Mandopop style over the course of a series of lessons. We begin this article by outlining our purpose and qualitative method, followed by a primer on Chinese popular music (C-pop). Next, we present a portrait of Christine to provide some context of her musical background, how she became interested in C-pop, and how she became interested in songwriting. We then proceed to describe Christine’s four-month songwriting journey with Adam as her instructor, and conclude by considering the implications of this case study for making Mandopop in music education.

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