Bug-in-the-Ear Training

2018 ◽  
pp. 26-45
Author(s):  
Brad A. Dufrene ◽  
Zachary LaBrot
Keyword(s):  
Ear Training

Are Popular Music Curricula Antiracist?: The CCNY Music Department as a Case Study

2021 ◽  
Vol 15 (4) ◽  
pp. 447-451
Author(s):  
Matthew K. Carter
Keyword(s):  
New York ◽  
Popular Music ◽  
Contemporary Music ◽  
Music Educators ◽  
American Music ◽  
Ear Training ◽  
Music Department ◽  
City College ◽  
Popular Music Studies ◽  
Music Theorist

In a recent virtual talk at the Hitchcock Institute for Studies in American Music, music theorist Philip Ewell considered how music educators and researchers might begin to “undo the exclusionist framework of our contemporary music academy.” Ewell's enterprise resonated with me not only as one who teaches undergraduate courses in music theory, history, performance, and ear training, but also as an instructor in a recently adopted Popular Music Studies program at the City College of New York (CCNY). The CCNY music department's shift in focus from a mostly white, mostly male, classical-based curriculum towards a more diverse and polystylistic repertory of popular music chips away at the exclusionist framework to which Ewell refers.

Rethinking the Engagement of Ethnomusicologists with Performance and Applied Music Curricula

2021 ◽  
pp. 219-237
Author(s):  
Robin Moore
Keyword(s):  
Community Outreach ◽  
The United States ◽  
World Music ◽  
First Century ◽  
Ear Training ◽  
Applied Music ◽  
Music Schools ◽  
Financial Exploitation ◽  
Approach To Teaching ◽  
Music Faculty

Music schools and conservatories in the United States and abroad focus primarily on training performers; one of the reasons ethnomusicologists have had such difficulty expanding their employment opportunities in such institutions is because they have not given enough thought to how they can productively contribute to performance curricula. The field of ethnomusicology has engaged creatively with many subdisciplines in the humanities and social sciences, of course. But while this focus has resulted in insightful publications, it has typically held little immediate relevance for performers. A surprising number of ethnomusicology programs do not encourage applied music-making of any sort as a required part of training in the discipline. In general, ethnomusicology does not dialogue sufficiently with applied music faculty or students. This chapter begins with reflection on what aspiring performers of the twenty-first century need to know in order to be professionally successful and continues with a consideration of how coursework offerings by ethnomusicologists can be retooled so as to contribute directly to the requirements of students in BM programs: to ear training, music theory, orchestration, junior and senior recitals, and so on. Lastly, the chapter covers an approach to teaching world music courses that focuses both on applied performance and on pressing contemporary issues (community outreach, social justice, financial exploitation, etc.) that link world traditions to other repertoires and make their relevance immediately apparent.

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