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.

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.

Idris Sardi’s Influence on Musical Development and Education in Indonesia

2022 ◽  
Vol 21 (2) ◽  
pp. 290-302
Author(s):  
Fu'adi Fu'adi ◽  
Putu Sudira ◽  
Kun Setyaning Astuti
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Qualitative Method ◽  
Music Appreciation ◽  
Orchestral Music ◽  
The Family ◽  
New Strategy ◽  
Violin Playing ◽  
Depth Interviews

Idris Sardi is known as a music maestro in Indonesia. This study aims to reveal the influence of Idris Sardi on the development of music and its implications in music education. This study uses a qualitative method with a narrative approach. The data were collected through observation, in-depth interviews, and documentation. The research informants were carefully selected from the family, violin students, and colleagues of Idris Sardi in Jakarta and Bogor, West Java. The data were analyzed by organizing data and creating codes, describing codes in chronological categories and themes, developing interpretations, and visualizing data. The results showed that Idris Sardi was influential in developing (1) keroncong music by varying the tempo and expanding the repertoire; (2) the violin playing techniques included unique characters such as vibrato, glissando, and octave variations; (3) ethnic and popular music were made through orchestrations and collaboration with orchestral music. The implications in music vocational education were (1) problem-based learning by creating a new keroncong style to be accepted by society; (2) the improvement capability by exploring skills to play the violin; (3) life-based-learning by raising local and popular music to be qualified while enhancing the level of society’s music appreciation. In conclusion, Idris Sardi provided a strong influence on the music development in Indonesia, and the implication could be a new strategy to improve the quality of music education.

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.

Gender Differences of Popular Music Production in Secondary Schools

2011 ◽  
Vol 59 (1) ◽  
pp. 21-43 ◽  
Author(s):  
Joseph Michael Abramo
Keyword(s):  
Gender Differences ◽  
Learning Styles ◽  
Music Education ◽  
Popular Music ◽  
Original Music ◽  
Music Production ◽  
Musical Production ◽  
Music Class ◽  
Opposite Gender

In this case study, the author inv estigated how students’ gender affected their participation in a secondary popular music class in which participants wrote and performed original music. Three same-gendered rock groups and two mixed-gendered rock groups were observ ed. Would students of different genders rehearse and compose differently? How would same-gendered processes compare to mixed-gendered processes? Research suggests that girls learn differently from boys and that gender—as distinct from sex—is formed in social env ironments. In research on popular music education, howev er, the participation of girls has been under-documented and under-theorized. This study found that boys and girls rehearsed and composed differently: Whereas the boys combined musical gestures and nonv erbal communication into a seamless sonic process, the girls separated talk and musical production. In the mixed-gendered groups, tensions arose because participants used different learning styles that members of the opposite gender misunderstood. Broadening popular music pedagogies to incorporate different practices is suggested.

East meets West: Learning-practices and attitudes towards music-making of popular musicians

2014 ◽  
Vol 31 (2) ◽  
pp. 179-194 ◽  
Author(s):  
Annie O. Mok
Keyword(s):  
Hong Kong ◽  
Music Education ◽  
Popular Music ◽  
Chinese Culture ◽  
Chinese Society ◽  
Significant Finding ◽  
Asian Countries ◽  
Music Making ◽  
Learning Practices ◽  
British Colony

Learning-practices of popular musicians are a prominent theme in Western music education literature; however, there appears to be a shortage of such literature in Asian countries. With the aim of comparing East and West, a qualitative study was conducted to investigate the learning-practices and involvement in music of Hong Kong popular musicians. Since Hong Kong is a former British colony, the study intended to investigate whether these practices resembled Western practices, or if they were derived from elements indigenous to Hong Kong. Interviews and observations of the informants’ performances and rehearsals were used to obtain data. It was found that all the informants learned mainly in an informal way and participated actively in music-making – similar to the Western popular music-making scenario – but the shadow of the mentor–apprentice learning relationship inherent in Chinese culture also appeared. Lastly, achievement-driven motivation in learning, which is prevalent in Chinese society, was also found among the informants in the present study. This may not be a significant finding in the context of popular music generally, but it is an issue in which Asian educators may be interested.

The ambivalence of becoming a small business: Learning processes within an aspiring rock band

Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 585-599
Author(s):  
Tobias Malm
Keyword(s):  
Small Business ◽  
Music Education ◽  
Popular Music ◽  
Research Area ◽  
Learning Processes ◽  
Organisational Form ◽  
Rock Band ◽  
Popular Music Studies ◽  
Music Making ◽  
The Social

The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music studies (Cohen 1993; Kirschner 1998; Lashua 2017; Weston 2017; Kielich 2018). Therefore, in this article I will focus on an aspiring rock band's informal learning processes in becoming a small business together. The study provides insights into the educational and organisational aspects of band practices and contributes to the fields of popular music, education and organisation studies – fields that are converging in the emerging interdisciplinary research area of ‘organising music-making’ (Beech and Gilmore 2015).

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.

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.

scholarly journals Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education

2019 ◽  
Vol 37 (2) ◽  
pp. 298-310
Author(s):  
Martina Vasil
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
Music Learning ◽  
Informal Music Learning ◽  
Learning Practices ◽  
School Music ◽  
Multiple Case

The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into their secondary school music programs in the United States. A primary goal was to understand music teachers’ process of enacting change. Data included 16 semi-structured interviews, eight school site visits and observations, documents, and a researcher journal. Findings revealed that teachers enacted change within micro-contexts—their classrooms. Teachers had an internal locus for change; they developed rationales for change and initiated curricular changes in response to a lack of student engagement, which seemed to stem from students feeling insecure in their musical abilities and disconnected from the content and pedagogy used in music classes. For the teachers in this study, the solution was integrating popular music and informal music learning practices. Thematic analysis revealed eight characteristics of effective teacher-initiated change in secondary music education: (1) holistic and gradual change processes, (2) teacher reflection and inquiry, (3) teacher autonomy, (4) enabling institutional factors, (5) use of a variety of supportive networks, (6) student-centered pedagogy, (7) teacher-selected professional development, and (8) a balance of structure and chaos and formal and informal learning.

scholarly journals Can student interdependence be experienced negatively in collective music education programmes? A contextual approach

2017 ◽  
Author(s):  
Marc Sarazin
Keyword(s):  
Music Education ◽  
School Context ◽  
Education Programme ◽  
Disadvantaged Students ◽  
Positive Outcomes ◽  
Contextual Approach ◽  
Mixed Methods Case Study ◽  
Music Making ◽  
And Training

Many studies and accounts argue that collective music-making can contribute to building social cohesion and training social skills, and particularly that student interdependence in collective music education programmes can foster this. I argue that this implies two assumptions: first, that students mostly experience interdependence in music programmes positively, and second that their experiences of interdependence are not significantly affected by their experiences in other settings. To address these assumptions, this paper reports on findings from a mixed-methods case study of a French in-school collective music education programme targeting disadvantaged students. The findings suggest that students could experience interdependence negatively in the music programme, and that this was informed by the tendency for interdependence to be framed negatively in the school context. Further, the study suggests that the school's pedagogical notion of the cadre led students to frame negative interdependence not as an encouragement to act cohesively, but rather as an adult imposition. The paper ends by discussing the implications of these findings and arguing for further studies investigating the mechanisms that link different collective music-making and educational settings with positive outcomes.

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