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/pdf/action-criticism-and-theory-for-music-education-4gbuv2qcjh.pdf

Action, Criticism and Theory for Music Education

This article considers some ways in which the school classroom enters into, changes and complicates musical meanings, focussing particularly on the role of popular music and how it relates to classical music. I suggest that in bringing popular music into the curriculum, educators have largely ignored the informal learning practices of popular musicians. Popular music has therefore been present as curriculum content, but its presence has only recently begun to affect our teaching strategies. I examine how the adaptation of some informal popular music learning practices for classroom use can positively affect pupils’ musical meanings and experiences. This applies not only to the sphere of popular music, but also to classical music and, by implication, other musics as well. Finally, the notions of musical autonomy, personal autonomy and musical authenticity in relation to musical meaning and informal learning practices within the classroom are discussed.

/pdf/popular-music-education-in-and-for-itself-and-for-other-4y34kfk24c.pdf

Popular music education in and for itself, and for ‘other’ music: current research in the classroom:

Popular music is pervasive in our culture and in the lives of our students Its inclusion in music education curricula requires authentic approaches through collaborative informal learning processes It has been our experience that college students may be notation dependent and while they may recognize and utilize informal processes outside the classroom, they have not pedagogically considered its use in their future classrooms This article revolves around the experiences of American University students in one secondary general music methods classroom and their engagement of informal learning processes in order to foster a vision and formulate a pedagogical plan for the incorporation of popular music in the classroom From the instructors’ perspective a three-fold process occurred that enabled meaningful engagement in this experience, that of: (1) disequilibrium; (2) breaking down existing barriers; and (3) student transformation Corporately we discovered the inclusion of popular music unleashed a thriv

Popular music in American teacher education: A glimpse into a secondary methods course

This case study investigates how secondary students (three individuals and three groups) engaged with music and acted as musicians in a Songwriting and Technology Class (STC), a course involving the creation, performance, recording and production of original music with instruments and music technology. The following research question guided the study: In what ways are students engaging with music in the STC? Findings suggest that students engaged as ‘hyphenated musician[s]’ by thinking and acting as songwriters, performers, sound engineers, recordists, mix engineers and producers in ways that were recursive and often overlapping. Students' engagement in these roles was particular to their individual and group contexts. Music education might broaden curricular offerings and reconceptualise classrooms as hybrid spaces to address the shared and idiosyncratic ways of knowing and doing music that students encountered through each role and holistically as hyphenated musicians.

Hybrid spaces and hyphenated musicians: secondary students' musical engagement in a songwriting and technology course

Since embarking on its course of economic reform and opening up to the world in the late 1970s, China has moved from a planned economy to a socialist-market economy; the resulting social and cultural changes have been many, and are reflected in the country's school music curriculum. This paper first introduces the historical background of popular music in the community and in school music in China in the 20th century. Second, it explores the reformation of music education that has, from the turn of the millennium, included popular music in school music education. This is followed by a discussion of the integration of popular music into the school curriculum in terms of how music education and cultural politics are shaped by the social and political relationships between (1) contemporary cultural and social values and traditional Chinese ideologies; (2) collectivism and individualism; and (3) nationalism and globalism. It is argued that, despite the introduction of popular music and the emphasis put on it ...

/pdf/the-cultural-politics-of-introducing-popular-music-into-4uef2fyg39.pdf

The cultural politics of introducing popular music into China's music education

In this article we propose that the introduction of popular music into Australian music syllabuses during the 1970s caused a disruption in and subsequent rethinking of music education. This was the result of the realisation among music educators that methods of teaching art music, which formed the content basis of syllabuses prior to the 1970s, were not suitable for teaching popular music. Responses to this realisation have resulted in the development of alternative methods of music education, and these in turn have reshaped not only teaching and learning strategies but also the ways music educators theorise music education and conceptualise its object of study, music.

The effects of the study of popular music on music education

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The effects of the study of popular music on music education