Rocking the Academy? Two Cold-War Careers and the Emergence of Popular Music Studies and Higher Popular Music Education in Germany

2020 ◽  
pp. 16-25
Author(s):  
David-Emil Wickström
Keyword(s):  
Cold War ◽  
Music Education ◽  
Popular Music ◽  
Popular Music Studies

The Göteborg connection: lessons in the history and politics of popular music education and research

Popular Music ◽  
1998 ◽  
Vol 17 (2) ◽  
pp. 219-242 ◽  
Author(s):  
Philip Tagg
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Social Issues ◽  
International Association ◽  
Turn Of The Millennium ◽  
Popular Music Studies ◽  
Wide Range ◽  
Media Hegemony ◽  
Work Education ◽  
Political Economic

BothPopular Musicand the International Association for the Study of Popular Music (IASPM) have been in existence for almost a generation. Given the radical social and political changes affecting the general spheres of work, education and research since the establishment of those two institutions in 1981, it is perhaps time for popular music scholars to review their own historical position and to work out strategies for the brave new world of monetarism facing those who will hopefully survive another generation after we quinquagenarian baby boomers of the rock era have disappeared from the academic scene. Of course, such a process of intellectual and ideological stocktaking requires detailed discussion of a wide range of political, economic and social issues that cannot be covered in a single article. I will therefore restrict the account that follows to a discussion of one particular set of historical strands affecting the development of popular music studies. This part of our history is virtually unknown in the anglophone quarters that have, for obvious reasons of language and music media hegemony, dominated the international field of popular music studies. It is, however, as I hope to show, a story of considerable relevance to more general problems of music education and research at the turn of the millennium. I shall return to these broader issues at the end of the article.

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).

Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983

Popular Music ◽  
2007 ◽  
Vol 26 (3) ◽  
pp. 409-427 ◽  
Author(s):  
FRANCO FABBRI
Keyword(s):  
Music Education ◽  
Popular Music ◽  
International Association ◽  
Ideological Criticism ◽  
Avant Garde ◽  
Popular Music Studies ◽  
Social Centre ◽  
Record Company

AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (sociology, music education, ideological criticism, semiotics) that in some respects embody and in others help explain the development of popular music studies and of the International Association for the Study of Popular Music (IASPM) in Italy.

A Rising Tide

2021 ◽  
pp. 265-274
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Electronic Music ◽  
Music Teachers ◽  
Music Technology ◽  
Cultural Authenticity ◽  
Music Program ◽  
Popular Music Studies ◽  
Vernacular Music ◽  
School Music

This chapter reflects on the curriculum outlined in the book and how it fits into the larger music education landscape. While project-based electronic music may not be appealing to all music teachers, the benefits of this approach to music education generally are broad and substantial. An open-enrollment music technology course creates a culture of inclusion that can lend a school’s music program greater cultural authenticity and demographic inclusiveness. When students are able to create music in their preferred styles, it validates their musical identities and helps them build toward lifelong learning. There are racial politics underlying the gulf between “school” music and “popular” music, and the chapter discusses the opposition that each successive form of African-American popular and vernacular music has faced in the academy. Critical popular music studies animated by antiracism can serve to both advance social justice goals, and to strengthen and enrich music programs.

Reports From the Field: Confessions of a Facebook Punk, or How Not to Do Social Media

2020 ◽  
pp. 235-244
Author(s):  
Gareth Dylan Smith
Keyword(s):  
Social Media ◽  
Music Education ◽  
Popular Music ◽  
Purpose In Life ◽  
Sociology Of Music ◽  
Working Through ◽  
The World

The author is rarely certain of his purpose in life—a condition that is heightened by a busy yet reluctant level of engagement with social media. The author utilizes Facebook and Twitter to promote activity around popular music education and sociology of music education. There is considerable overlap in the author’s life between professional and personal domains, which seems amplified by social media. Facebook and Twitter provide less formal, more direct means to engage with the world than traditional modes of peer-reviewed communication among academic colleagues. Social media provide a platform for working through ideas and for addressing problems with urgency and immediacy. As such, and despite some messiness and increased levels of vulnerability and risk, the author encourages peers to engage with social media’s immediate and powerful, punk pedagogical potential.

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.

Integrating popular music into urban schools: Assessing the effectiveness of a comprehensive music teacher development program

2021 ◽  
pp. 025576142098622
Author(s):  
Hal Abeles ◽  
Lindsay Weiss-Tornatore ◽  
Bryan Powell
Keyword(s):  
Professional Development ◽  
New York ◽  
Music Education ◽  
Popular Music ◽  
Teacher Development ◽  
Development Program ◽  
Music Teacher ◽  
School Year ◽  
Music Program ◽  
K 12

As popular music education programs become more common, it is essential to determine what kinds of professional development experiences that are designed to help teachers include popular music into their music education classrooms are effective—keeping in mind that the inclusion of popular music in K–12 classrooms requires a change not only in instrumentation and repertoire but also pedagogical approaches. This study examined the effects of a popular music professional development initiative on more than 600 New York City urban music teachers’ musicianship, their pedagogy, and their leadership skills throughout one school year. Results revealed increases in all three areas, most notably in teachers’ musicianship. The study also showed an increase in teachers’ positive perceptions about their music programs, specifically, their level of excitement about the state of their music program and that their music program was more effective at meeting their students’ needs than it had been previously.

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