The educational backgrounds of DIY musicians

2021 ◽  
Author(s):  
Nicholas Patrick Quigley ◽  
Tawnya D. Smith
Keyword(s):  
Music Education ◽  
Exploratory Study ◽  
Self Care ◽  
The United States ◽  
Individualized Instruction ◽  
Music Participation ◽  
Educational Backgrounds ◽  
Music Making ◽  
Do It Yourself ◽  
Mainstream Society

In this qualitative, exploratory study we examined the music education backgrounds and current creative practices of thirteen self-described do-it-yourself (DIY) musicians from around the United States. A growing community of scholars within and outside of education have noted the relative inclusionary nature of DIY communities as compared to mainstream society. Several themes have emerged in DIY music participation literature, including social influences and isolation, and music making for self care and self expression. DIY music-making can offer a potentially liberating space for those marginalized by traditional schooling, providing students with social, educational and musical opportunities they could not find or participate in at school. Through an analysis of interviews and participation-observations of creative practices such as band rehearsals and improvisation sessions, we found that similar themes emerged in our own data. Implications for music education include the importance of more individualized instruction and opportunities for self care and self expression.

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.

Zines, Half-Lives, and Afterlives: On the Temporalities of Social and Political Change

PMLA ◽  
2011 ◽  
Vol 126 (1) ◽  
pp. 140-150 ◽  
Author(s):  
Janice Radway
Keyword(s):  
United States ◽  
Science Fiction ◽  
Special Interest ◽  
Political Change ◽  
The United States ◽  
Alternative Press ◽  
Wide Range ◽  
Do It Yourself ◽  
Mainstream Society ◽  
The 1960S

The term zine is a recent variant of fanzine, a neologism coined in the 1930s to refer to magazines self-published by Aficionados of science fiction. Until zines emerged as digital forms, they were generally defined as handmade, noncommercial, irregularly issued, small-run, paper publications circulated by individuals participating in alternative, special-interest communities. Zines exploded in popularity during the 1980s when punk music fans adopted the form as part of their do-it-yourself aesthetic and as an outsider way to communicate among themselves about punk's defiant response to the commercialism of mainstream society. In 1990, only a few years after the first punk zines appeared, Mike Gunderloy made a case for the genre's significance in an article published in the Whole Earth Review, one of the few surviving organs of the 1960s alternative press in the United States. He celebrated zines' wide range of interests and the oppositional politics that generated their underground approach to publication.

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.

scholarly journals Transcending the technical : an examination of spirituality in choral music making for selected public

2019 ◽  
Author(s):  
◽  
Jordan Lee Cox
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Team Building ◽  
Group Discussion ◽  
The United States ◽  
Historical Background ◽  
Public High School ◽  
Area Of Interest ◽  
Music Making ◽  
Building Activities

The purpose of this phenomenology was to contribute to the examination of the role of spirituality in choral music making for public school choral conductors in the United States. Since the year 2000, the topic of spirituality has been a growing area of interest for researchers, particularly in the fields of nursing, social sciences, and education. To better understand the phenomenon of spirituality within music education, eight public high school choir conductors who were members of the American Choral Directors Association, had taught for at least five years, and had experienced spirituality in choral rehearsals or performances were interviewed face-to-face or via online video-conferencing software, using a self-developed interview guide with open ended questions. Participants included four males and four females from Missouri, Illinois, Iowa, and Florida. The findings of this study supported previous literature on spirituality by contrasting spirituality from religion, and described spirituality as students engaging in musical experiences that transcended the fundamentals of music, involving the whole person: body, mind, and spirit. Participants shared that a certain level of technicality must be achieved before a spiritual experience would occur, but a flawless performance was not required. The participants expressed the need for vulnerability and authenticity in the classroom modelled by the teacher, but the strongest theme throughout the data was the value placed on various connections. These teachers discussed connection to the music, particularly the text, connection between the teacher and the students, connection among the students themselves, connection to the divine, and connection to the audience. The teachers suggested those interested in engaging their students in spiritual experiences could cultivate these connections through large/small group discussion, studying the cultural and historical background of the music, use of metaphors and imagination, self-reflection, journaling, sharing personal stories, engaging in ice-breakers and team building activities, mindfulness exercises, in personal interactions, and through the use of inspirational quotes. When asked to define spirituality in the context of choral music, each participant admitted that it was difficult to define, but expressed it as something bigger than themselves, tied to a greater purpose, calling, and/or worldview, and often expressed hope that students would gain this greater perspective on life.

Nonregulated Assessment in Music Education

2019 ◽  
pp. 494-511
Author(s):  
Nasim Niknafs
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Top Down ◽  
Proactive Approach ◽  
Self Organized ◽  
Music Making ◽  
Local Activism ◽  
Do It Yourself

Without access to official state-sanctioned, public music education, Iranian youth, specifically rock and alternative musicians, follow a self-organized and anarchistic path of music making. Expertly negotiating between the act of music making and the unpredictable situations they face daily, they have become creative in finding new ways to propagate their music and learn the rules of their profession. Meanings attached to assessment in these circumstances become redefined and overshadow the quality of music being created. Assessment becomes a local activism that countervails the top-down, summative model. This chapter provides some characteristics of assessment in music teaching and learning in urban Iran that follow Nilsson and Folkestad’s (2005) ecocultural perspective, consisting of four elements: (a) Gibson’s (1979) concept of affordances, (b) orality, (c) theories of play, and (d) theories of chance. Consequently, assessment in urban Iranian music education can be categorized as follows: (1) do-it-yourself (DIY) and do-it-with-others (DIWO), (2) interactive and decentralized, (3) local anarchism, and (4) lifestyle. This chapter concludes that the field of music education should take a “slightly outside perspective” (Lundström, 2012, p. 652) and proactive approach toward assessment, rather than the reactionary approach to music teaching and learning in which assessment becomes an end goal rather than an approach embodied within learning.

Informal music-making among piano bar musicians: Implications for bridging the gap in music education

2020 ◽  
Vol 4 (3) ◽  
pp. 371-388 ◽  
Author(s):  
Amy Spears ◽  
Danelle Larson ◽  
Sarah Minette
Keyword(s):  
United States ◽  
Qualitative Study ◽  
Music Education ◽  
Music Theory ◽  
Musical Training ◽  
The United States ◽  
Participatory Culture ◽  
Primary Method ◽  
Multiple Forms ◽  
Music Making

Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include that the primary method participants used to learn songs was listening and learning by ear; ‘reading’ music took multiple forms; music theory and chord functionality were useful and allowed for flexible musicianship; and that a participatory culture was important for learning the songs the musicians chose to learn.

A Case for Music in Modern American Schools

1986 ◽  
Vol 3 (2) ◽  
pp. 123-127
Author(s):  
Eddie S. Meadows
Keyword(s):  
Music Education ◽  
The United States ◽  
School Curriculum ◽  
Educational Systems ◽  
Elementary Grades ◽  
Public And Private ◽  
Master's Degrees ◽  
The Arts ◽  
American Schools ◽  
Mainstream Society

Music education in the United States is in the throes of critical public re-evaluation which appears to have been brought in primarily by two concurrent forces, both of which are still strongly affecting our lives today. During the past five years, large increases in government and private monies have forced public and private educational systems across the country to make major adjustments in the curriculum; from elementary grades to master's degrees, decisions have had to be made as to which subjects will be offered to students and which will not. In addition, the slow and steady deification of technology and its myriad offspring has effected a subtle yet very sure excommunication of the arts from mainstream society. In this article Dr Meadows draws attention to the threats posed by educational budgetary cutbacks, and argues the case for continuing recognition of music's importance in the school curriculum.

Creative Music Education in Japan during the 1920's: The Case of the Elementary School Attached to Nara Women's Higher Teachers College

1994 ◽  
Vol 11 (2) ◽  
pp. 157-162 ◽  
Author(s):  
Kyoko Koizumi
Keyword(s):  
Elementary School ◽  
Great Britain ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Historical Background ◽  
Teachers College ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

‘Creative music-making’, as developed in recent years in Great Britain and other countries, has also become popular in Japanese music education; for many music teachers have come to think seriously about the significance of child-centred music education instead of teacher-centred music education. Such a trend seems to be new. However, as in the United States and Great Britain, child-centred music education has been implemented previously – during the 1920's, in Japan's case. This development began in the Elementary School Attached to Nara Women's Higher Teachers College. The author describes the ideas and practices of creative music education in this school, and its historical background, comparing them with creative music-making today.

An exploratory study of intangibles risk disclosure in annual reports of banking companies from the UK, US, Germany and Italy - Some descriptive insights

2013 ◽  
pp. 81-120 ◽  
Author(s):  
Susanne Durst
Keyword(s):  
Intellectual Capital ◽  
Exploratory Study ◽  
The United States ◽  
Annual Reports ◽  
Risk Disclosure ◽  
Related Risk ◽  
Potential Benefits ◽  
Report Data ◽  
Key Drivers ◽  
The Uk

Intangibles are viewed as the key drivers in most industries, and current research shows that firms voluntarily disclose information about their investments in intangibles and their potential benefits. Yet little is known of the risks relating to such resources and the disclosures firms make about such risks. In order to obtain a more balanced and complete picture of firms' activities, information about the risky side of their intangibles is also needed. This exploratory study provides some descriptive insights into intangibles-related risk disclosure in a sample of 16 large banks from the United States (US), United Kingdom (UK), Germany and Italy. Annual report data is analyzed using the three Intellectual Capital dimensions. Study findings illustrate the variety of intangibles-related risk disclosure as demonstrated by the banks involved.

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