Academic literature on the topic 'Popular music pedagogy'
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Journal articles on the topic "Popular music pedagogy"
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ATEŞ ASLAN, Irmak, and Gamze Elif TANINMIŞ. "A QUALITATIVE RESEARCH ON POPULAR MUSIC PEDAGOGY." IEDSR Association 7, no. 20 (July 22, 2022): 51–62. http://dx.doi.org/10.46872/pj.559.
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The aim of this study is to explore Popular Music Pedagogy, one of the 21st-century education approaches, in order to contribute to the literature on contemporary instruction methods. It is a qualitative study carried out with literature review method for collecting data. The findings were listed in a gradual manner with coherence of scope. This research is significant in that it reveals the general principles and functioning of Popular Music Pedagogy. The study shows that Popular Music Pedagogy is essentially an approach in which traditional pedagogy is adapted to a self-directed learning environment. As a consequence, the studies on Popular Music Pedagogy were analyzed and suggestions were made accordingly. The present study is expected to provide guidance in both collecting data about the approach and research along with applications of the approach for researchers who intend to use Popular Music Pedagogy.
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Berland, Jody, and Nikolas Kompridis. "Disciplining the ' 'Popular" Music and Pedagogy." Communication 8, no. 2 (1986): 157–69. http://dx.doi.org/10.3406/comin.1986.1363.
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Mantie, Roger. "A Comparison of “Popular Music Pedagogy” Discourses." Journal of Research in Music Education 61, no. 3 (August 20, 2013): 334–52. http://dx.doi.org/10.1177/0022429413497235.
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The purpose of this study was to interrogate discourses of “popular music pedagogy” in order to better understand music education practices generally and specifically those in the United States. Employing a conceptual framework based on the work of Jan Blommaert (2005), a content analysis was conducted on a sample of 81 articles related to popular music and music education according to the variables of journal and nationality. Results suggest that international differences in discourse existed. American-based authors focused on issues of legitimacy and quality (repertoire and teaching), whereas non-American-based authors focused on matters of utility and efficacy, with an emphasis on the quality of learning and pedagogical relationship. The lack of awareness (national and international) of discourse features and functions may be limiting the effectiveness of both communication and practice.
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Pichaske, David R. "Poetry, pedagogy, and popular music: Renegade reflections." Popular Music and Society 23, no. 4 (December 1999): 83–103. http://dx.doi.org/10.1080/03007769908591754.
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Lebler, Don. "Popular music pedagogy: peer learning in practice." Music Education Research 10, no. 2 (June 2008): 193–213. http://dx.doi.org/10.1080/14613800802079056.
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Tobias, Evan S. "Composing, songwriting, and producing: Informing popular music pedagogy." Research Studies in Music Education 35, no. 2 (June 18, 2013): 213–37. http://dx.doi.org/10.1177/1321103x13487466.
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Pulman, Mark. "Popular music pedagogy: Band rehearsals at British universities." International Journal of Music Education 32, no. 3 (July 17, 2013): 296–310. http://dx.doi.org/10.1177/0255761413491207.
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Gurgel, Ruth. "The Tanglewood Symposium: Popular Music Pedagogy from 1967 to Today." Music Educators Journal 105, no. 3 (March 2019): 60–65. http://dx.doi.org/10.1177/0027432119831752.
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The Tanglewood Symposium of 1967 is an event now looked back on as a watershed moment in the field of music education. At the Symposium, societal happenings of the day provided the background for the discussions, including the Civil Rights movement and the explosion of rock’n’roll. At the Symposium, members held important conversations about popular music and the future of music education. This article analyzes the documentation surrounding the Symposium and suggests areas of music education that still remain a part of the hidden curriculum supporting inequity and how these areas can be brought to light and addressed in popular music pedagogy today.
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Bell, Adam Patrick, Ryan Stelter, Kathleen Ahenda, and Joseph Bahhadi. "CanRock classroom: Two pre-service teachers’ experiences of a popular music pedagogy course in Canada." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 451–68. http://dx.doi.org/10.1386/jpme_00006_1.
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Research on popular music pedagogy tends to centre on teaching and learning practices related to school-aged students; less research has focused on the training of pre-service teachers. We present the perspectives of two pre-service teachers on their experiences taking the first iteration of a popular music pedagogy course at a university in Canada as part of their music education studies. The examination we present is limited to one site and two pre-service teachers’ perspectives, but focuses on some important themes including group dynamics, songwriting, integrating technology and learning popular music instruments. We begin by surveying some recent related literature on popular music pedagogy before outlining our purpose and method. Then, we detail the underpinning ‘informal learning’ ethos of the course and provide a course description. Finally, we present our findings on the two pre-service teachers’ experiences with the course and conclude with a brief discussion that contextualizes these results with related literature.
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Hamilton, Sandra, and Jennifer Vannatta-Hall. "Popular music in preservice music education: Preparedness, confidence and implementation." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 41–60. http://dx.doi.org/10.1386/jpme_00013_1.
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This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.
Dissertations / Theses on the topic "Popular music pedagogy"
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Incze, Lajos. "Popular guitar pedagogy: fostering traditional musicianship in the culturally relevant classroom." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119382.
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Music education in North America remains loyal to the ideals, materials, and methodologies of a bygone era despite widespread calls for pedagogical change. Popular music has a limited role in schools although culturally relevant programming is increasingly important in modern contexts. Guitar class has the unrealized potential to reach those many students who are eager for music opportunities but unable to work within traditional formats. Guitar is motivational, inclusive, and relevant to students, and therefore has an appropriate place in the pluralistic classrooms of the twenty-first century. Unfortunately, a model is l lacking to bridge the gap between guitar performance, and materials from popular guitar-based genres, with traditional values of formal music education. Guitar instruction is consistently portrayed in opposition to, or as an alternative to, success in the time0homored priorities of school music. The question remains, then, as to if popular guitar performance can be reconciled with an emphasis on theory, literacy, and fine musicianship. This narrative study details a public school teacher's attempt to synthesize an original electric guitar curriculum for his middle school classes, one responsive to both academic and cultural concerns. Suggestions for concrete steps towards an achievement-oriented popular guitar pedagogy are presented, amidst the argument that such developments are feasible, necessary, and overdue.L'éducation musicale en Amérique du Nord reste fidele aux idéaux, au matériel et aux méthodes d'une époque révolue, malgré de nombreux appels pour un changement pédagogique. La musique populaire a un rôle limite den les écoles, bien que des programmes culturellement pertinents soient de plus et plus important dans des contextes modernes. Les cours de guitare ont le potentiel inexploité d'atteindre ces nombreux étudiants qui sont désireux d'apprendre la musique, mais incapables de travailler dans un format traditionnel. La guitare est motivante, inclusive et pertinente pour les élevés, et a donc une place appropriée dans les groupes diversifies du vingt et unième siècle. Malheureusement, il existe un fosse ester les objectifs traditionnels et la musique populaire a la guitare. L'enseignement de la guitare est habituellement perçu comme une opposition, ou comme une alternative a la réussite scolaire. La question demeure donc a savoir si la guitare populaire peut être conciliée a la théorie et a la musicalité. Cette étude décrit comment un professeur d'école publique tente de synthétiser un programme de guitare électrique original qui répond aux besoins académiques et culturels. Des suggestion portant sur des mesures concrète ayant pour objectif d'atteindre une pédagogie tournée ver la réussite du cour sont présentées comme possibles, nécessaires et attendues.
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Kom, Brian S. R. "Tuning In to a Hit Parade Pedagogy." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30559.
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Contemporary popular music is a ubiquitous social, cultural, and pedagogical force.
Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted
into our most public and private spaces. For this study, I present the Billboard music charts
as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s
theorizing on youth culture, I sound out messages and motives embedded within the hit
parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free
association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that
feature themes of marginalization, and consider the paradox presented by the juxtaposition of
their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire.
Before signing off, I consider the implications for school-based educators and pedagogy in
regard to engaging marginalization, particularly the notion of implementing a curriculum
with which students may participate and sing along.
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Anthony, Brendan. "Perspectives of Learning Popular Music Production in Higher Education From Both Sides of the Glass." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/394317.
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The aim of this research is to investigate how popular music production can be learned in higher education contexts, and how higher education can design and implement reputable approaches in popular music production pedagogy that bridge to modern professional practice. Music production has developed from large studio contexts and become ubiquitous within project studios following the invention of the Internet and democratisation of high quality and affordable computer-based recording technology. As a result, multi-skilled popular musicians now blur the once-standardised roles of the producer and artist, use face-to-face and online/remote collaboration, and create music in diverse technological, socio-cultural, and musical landscapes. Yet music production is often a collaborative experience, the culmination of musicians, engineers, producers, and songwriters working together through cognitive and practice-based processes. Therefore, the rationale of this thesis is based around the discovery of effective ways to educate students regarding the selection of creative practices and the design of music production cultures, and how these affect the musical output.
Aspiring music producers seek instruction in popular music production and higher education’s role in this landscape is integral. Yet the diversity that music-making now purveys adds to the complexity of pedagogical designs. As such, popular music production pedagogy needs to be considered alongside applications that bridge the pedagogical experience to the professional world and promote graduate industry integration. However, it is still very unclear as to what form effective higher education music production pedagogical frameworks should take to ensure that the expansive tacit knowledge of professionals can be articulated, and the practice of modern music production be understood by students.
This research utilised an ethnographic case study of a one-year, university-based popular music production pedagogical offering to investigate how effective pedagogy in this field may be created. The students’ and educator’s perceptions of the practice-based tutorial activity were collected through a vast array of data collection methods including surveys, video footage, semi-structured interviews, focus groups, and assessment items. A qualitative thematic analysis informed key findings that were situated within domains including the usefulness of music production cultures, the instinctive and intuitive role of the educator, the necessity of bridging the tutorial experience to the professional world, and the many different ways in which students learned. In particular, the research found that effective pedagogy targets the student’s understanding of the greater practice of music production by engaging with music production from both sides of the glass. In these scenarios songwriting, performance, sound engineering, and production occurred in holistic, collaborative environments where all those involved in the music-making were present during the pedagogy.
The research concludes by recognising that the pedagogical approaches of the future need to consider the affordances of modern music producers. These frameworks should facilitate tacit learning in entrepreneurial habits, self-belief, and life skills. Subsequently, students can then be encouraged to consider themselves as professional practitioners prior to their transition to the music industry.Thesis (Professional Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
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Farias, Eldia Carla. "CREATIVE TREATMENT OF FOLK MELODIES IN SELECTED CIRANDINHAS AND CIRANDAS OF HEITOR VILLA-LOBOS." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/48.
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This study provides a comparative analysis and performance suggestions for three Cirandinhas and three Cirandas for solo piano by Heitor Villa-Lobos in order to demonstrate their aesthetic and pedagogical value. The primary objective is to argue for the significance of the Cirandas as concert works and of the Cirandinhas as didactic ones. To better explore these two sets of pieces and their interconnections, the selected Ciranda-Cirandinhas pairs are all based on the same folksong theme. Thus, the analyses also demonstrate Villa-Lobos’s desire to represent Brazilian culture through his music and the ingenuity with which he treated the same melodic material within performative and pedagogical contexts. Heitor Villa-Lobos is recognized as the most significant creative figure in twentieth-century Brazilian art music and as one of the distinguished Latin American composers to date. His distinctive compositional style represents a thorough synthesis of influences from European art music with the African, Indo-American, and cosmopolitan urban idioms of Brazilian vernacular music. Villa-Lobos’s output comprises more than 2000 compositions in a wide variety of genres: symphonies, concertos, operas, chamber music, art songs, and solo piano music. Throughout his career, he was a devoted supporter of music education for young people and of the development of a distinctively Brazilian art-musical tradition. The Cirandinhas and Cirandas represent an intersection of these two concerns. This study will be meaningful to both performers and piano teachers, whom it will encourage to include Villa-Lobos’s works within their concert repertory or teaching curricula. The document includes an introduction, a brief contextualized biography of the composer, a comparative analysis of the selected Cirandinhas and Ciranda with performance suggestions that touches on stylistic, pedagogical, and technical features of the pieces; a conclusion; appendices that include a chronological list of Villa-Lobos’s piano works and the titles and translations of all the Cirandinhas and Cirandas; and a bibliography.
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Lucena, Diuliano Vitor. "Obras para contrabaixo com gêneros da música popular brasileira: performance e aspectos pedagógicos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7213.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This paper addresses interpretative and pedagogical aspects of double bass works within Brazilian popular music genders. The major objective is to update the Brazilian Online Catalog of Erudite Work for Double Bass (RAY, 2005), and discuss interpretative and teaching aspects from the selection of work which presents characteristics of brazilian popular music genders in this collection. The methodology is qualitative and it presents, at first, a discussion of the addressed repertoire. Next, it develops a proposal for pedagogical and interpretation possibilities applicable to the bassist training. The work is organized in three parts: process of catalog update, selection of the work which was debated and discussion about the performance the performance and suggestions for studies of the workpieces. As a result, 81 new workpieces, which were accumulated from 2006 to 2016, were listed and included in the catalog that bear 136 compositions. After this update, the catalog currently bears 222 workpieces, and 81 of these workpieces hold elements of the Brazilian Popular Music Gender. It is concluded with the proposal of a possible pedagogical path in order to study and solve technical problems as articulation (bow stroke and bowing) in repertoire with choro and baião citations, in order to exemplify and suggest how to perform works with citations of MPB genders in concert music.
Este trabalho trata de aspectos pedagógicos e interpretativos em obras para contrabaixo que se enquadram em gêneros da música popular brasileira. O objetivo principal é atualizar o Catálogo Brasileiro de Obras Eruditas para Contrabaixo On-Line (RAY, 2005) e discutir aspectos pedagógicos e interpretativos, a partir da seleção de obras que apresentam características dos gêneros da música popular brasileira neste acervo. A metodologia tem caráter qualitativo e apresenta, num primeiro momento, uma análise reflexiva sobre o repertório abordado. Em seguida, desenvolve uma proposta pedagógica e de interpretação aplicável nos estudos do contrabaixista. O trabalho está organizado em três partes: processo de atualização do catálogo, seleção das obras discutidas, discussão sobre a performance e sugestões de estudo das obras. Como resultado, foram listadas e incluídas no catálogo que continha 136 composições, mais 81 novas peças que foram acumuladas de 2006 até 2016. Com essa atualização o catálogo está atualmente com 222 peças, sendo que 81 dessas contêm elementos de Gênero da Musica popular Brasileira. Conclui-se com a proposta um possível caminho pedagógico para o estudo e resoluções de problemas técnicos como a articulação (golpe de arco e arcadas) em repertório com citação de choro e baião, a título de exemplo e sugestão de como lidar com citações de gêneros da MPB na música de concerto.
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Santos, Luis Carlos Ribeiro dos. "Jogos rapsódicos: a música e a dança popular na aprendizagem das artes cênicas." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-14092016-115347/.
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A dança e a música dos Cocos e Sambas de Caboclo, do Samba rural e das Cirandas e cantigas de roda, por suas características próprias de ludicidade e de significação cultural, são o território das experiências estéticas e saberes dos jogos rapsódicos. Esta pesquisa propõe uma pedagogia das artes cênicas através de uma educação corporal e musical que integra tais saberes e experiências da dança popular e da música nos processos de criação e aprendizagem do atuante. Deste modo, os jogos rapsódicos são brincadeiras cantadas, dançadas, tocadas e contadas que colocam em movimento as vozes poéticas e corporeidades do narrador e do brincante das nossas celebrações e práticas culturais, para complementar as teorias e métodos da pedagogia das artes cênicas ensinados no Brasil.Dance and music of Coco and Caboclo\'s Samba, from rural Samba and from Cirandas, Northeastern Brazilian circle dances, for their own playful features and their cultural meaning, are territory for aesthetic experiments, and knowledge for the rhapsodic games. This research proposes performimg art pedagogy by means of body and musical education, which integrates such knowledge and experience of popular dance and music into the actor\'s processes of learning and creation. Thus, rhapsodic games are sung, danced, played and told games, which prompt the poetic voices and corporeity of narrators and players from our celebrations and cultural practices, in order to complement the theories and methods of the performing art pedagogy taught in Brazil.
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ASSIS, Paulo Dantas de Paiva. "Improvisação ao contrabaixo acústico com uso de arco na música popular brasileira instrumental (MPBI): estratégias de estudo e performance." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2731.
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Previous issue date: 2010-03-31This paper discusses the use of bowing technique in improvisation with the bass in the Brazilian Instrumental Popular Music (MPBI). The main objective is to develop study strategies through a brief literature review on the bowing technique, its application in North American jazz and the characteristics of improvisation in MPBI. Thus, the paper discusses the results and presents them in the form of suggestion implementation. The paper is organized into three parts: 1) Review of literature on the use of the bow on strings instruments, 2) MPBI improvisation and 3) strategies for improvisation study on double bass with the use of bowing technique in MPBI. It can be concluded that the processes involved in improvisation on the double bass with bowing technique in MPBI have some particularities that should be objects of attention and study. Moreover, there are similarities in the use of the bowing technique in Classical Music, particularly the technique preparation. It also follows that the greater the knowledge of the peculiarities of bowing technique in improvisation, preparing technical and stylistic knowledge of the bassist, the performance will be better.
O presente trabalho discute a utilização da técnica de arco na improvisação ao contrabaixo acústico na Música Popular Brasileira Instrumental (MPBI). O objetivo principal é desenvolver estratégias de estudo, através de uma breve revisão de literatura sobre a técnica de arco, sua aplicação no jazz norte americano e as características da improvisação na MPBI. Assim, o trabalho discute os resultados obtidos e os apresenta em forma de sugestão de aplicação. O artigo está organizado em três partes: 1) Revisão de literatura sobre o uso do arco nos instrumentos de cordas friccionadas; 2) A improvisação na MPBI e 3) Estratégias de estudo para a improvisação ao contrabaixo com uso de arco na MPBI. Pode-se concluir que os processos envolvidos na improvisação ao contrabaixo com uso de arco na MPBI apresentam particularidades que devem ser objetos de atenção e estudo. Por outro lado, há semelhanças quanto ao uso do arco na prática da música de concerto, sobretudo à preparação técnica. Conclui-se também que quanto maior for o conhecimento das particularidades do uso do arco na improvisação, o preparo técnico e conhecimento estilístico do contrabaixista, melhor será o resultado de sua performance.
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Rocha, José Geraldo. "A ciranda das crianças: improvisação e jogo teatral como estética e linguagem nas encenações do pasárgada." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-13032017-115129/.
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Este trabalho é um recorte investigativo sobre a improvisação e o jogo teatral como estética e linguagem nas encenações do Grupo Pasárgada, ao longo de quatro décadas e meia de atuação, propondo novos olhares e caminhos sobre o teatro para crianças e jovens e sua contribuição para a cena teatral contemporânea. Na presente Dissertação de Mestrado, destaco em três textos escritos e encenados por mim, exemplos de minha atuação prática e teórica, embasada no jogo teatral e no conceito de modelo de ação de Bertolt Brecht, como método de aprendizagem em seu caráter coletivo e pedagógico. Destaco também a importância do vasto universo da cultura popular brasileira, com seus jogos tradicionais, contos populares, cantigas de roda, brincadeiras infantis e seu significado presente em praticamente toda a minha obra. Apresento ainda, como registro, a continuidade dessa investigação através de uma dramaturgia em processo, tematizando A Cruzada das Crianças, de Marcel Schwob e o poema homônimo de Bertolt Brecht, sobre crianças em tempos de guerra - os ecos do passado - buscando revelar a invisibilidade que a criança vem ocupando através dos séculos, sendo vítima da mais completa indiferença e da mais cruel das exposições.This work is an investigative cut on improvisation and theatrical play as aesthetic and language in stagings of Pasargadae Group, over four and a half decades of work, proposing new looks and ways of theater for children and young people and their contribution to contemporary theater scene. In this Master\'s Dissertation highlight in three texts written and staged for me examples of my practical and theoretical performance, based on the theatrical play and action model concept of Bertolt Brecht as a learning method in their collective and pedagogical. I also highlight the importance of the vast universe of Brazilian popular culture, with its traditional games, folk tales, nursery rhymes, children\'s play and its present meaning in almost all my work. I present also as a record, the continuation of this research through a playwriting process, thematising the Children\'s Crusade, written by Marcel Schwob and the eponymous poem by Bertolt Brecht, on children in times of war - the echoes of the past - seeking reveal the invisibility that the child has occupied over the centuries, victim of the most complete indifference and the cruelest of exhibitions.
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Klein, Eve Elizabeth. "The pomegranate cycle : reconfiguring opera through performance, technology & composition." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/51175/1/Eve_Klein_Thesis.pdf.
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The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer.
During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. Consequently, the canon’s historic representations of gender remain unchallenged. Historically and contemporarily, men have almost exclusively occupied the roles of composer, conductor, director and critic, and therefore men have regulated the pedagogy, performance practices, repertoire and organisations that sustain classical music. In this landscape, women are singers, and few have the means to challenge the constructions of gender they are asked to reproduce. The Pomegranate Cycle uses recording technologies as the means of driving change because these technologies have already challenged the regulation of the classical tradition by changing people’s modes of accessing, creating and interacting with music.
Building on the work of artists including Phillips and van Veen, Robert Ashley and Diamanda Galas, The Pomegranate Cycle seeks to broaden the definition of what opera can be. This work examines the ways in which the operatic tradition can be hybridised with contemporary musical forms such as ambient electronica, glitch, spoken word and concrete sounds as a way of bringing the form into dialogue with contemporary music cultures. The ultilisation of other sound cultures within the context of opera enables women’s voices and stories to be presented in new ways, while also providing a point of friction with opera’s traditional storytelling devices.
The Pomegranate Cycle simulates aesthetics associated with Western art music genres by drawing on contemporary recording techniques, virtual instruments and sound-processing plug-ins. Through such simulations, the work disrupts the way virtuosic human craft has been used to generate authenticity and regulate access to the institutions that protect and produce Western art music. The DIY approach to production, recording, composition and performance of The Pomegranate Cycle demonstrates that an opera can be realised by a single person. Access to the broader institutions which regulate the tradition are not necessary. In short, The Pomegranate Cycle establishes that a singer can be more than a voice and a performing body. She can be her own multimedia storyteller. Her audience can be anywhere.
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Ribeiro, Gadiego Cararo. "O contrabaixo acústico na música popular brasileira: utilização de arranjos como ferramenta para ampliação do repertório e material didático." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/5369.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This paper is the final product of the Master of Music course – Performance of Musical Double Bass, Graduate School of Music of the Federal University of Goiás and is divided into two parts. Part A: artistic production which includes two recitals with program related to the developed research and there are also mandatory for the conclusion of the course, and Part B: an scholar paper. The final recital has works that highlight chamber music and the Double Bass, and integrates different instrumental combinations of solo works, with emphasis on Brazilian popular music. The recital program is composed of arrangements that addresses the performance of instrument genres such as Milonga, the Chacarera and Chamamé, and other genres of Brazilian popular music like samba. The scientific article deals with the use of arrangements for chamber music with bass in popular Brazilian works. It presents alternatives for expanding the Brazilian popular chamber repertoire, through the discussion of expressive/technical resources applied to bass arrangements for various instrumental combinations. The main objective was to conduct a study on the use of arrangements for chamber groups with bass, demonstrating possibilities for increasing the repertoire and teaching materials. The methodological process was based on the literature review of the performance of the instrument in genres of popular music, particularly jazz, as well as chamber music and the main teaching methods used in the country. For that the use of technical resources from these two musical universes was discussed, applied in works of Brazilian popular music. The study sought to demonstrate that the use of arrangements of Brazilian popular music for chamber groups can serve as an alternative to expanding the repertoire and didactic material for teaching the instrument the bass.
Este trabalho é o Produto Final do curso de Mestrado em Música – Performance Musical Contrabaixo, apresentado ao Programa de Pós-Graduação em Música da Universidade Federal de Goiás e, está dividido em duas partes. Parte A: produção artística, que inclui os dois recitais relacionados à pesquisa desenvolvida e que são pré-requisitos para a conclusão do curso, e Parte B: o artigo científico. O recital de defesa conta com obras que evidenciam o caráter camerístico e solista do instrumento, e integra diferentes formações instrumentais além de obras solo, com ênfase na música popular brasileira. Os arranjos que compõem o programa de defesa abordam a atuação do instrumento em gêneros fronteiriços como a Milonga, a Chacarera e o Chamamé, além de outros gêneros mais conhecidos da música popular brasileira como o samba. O artigo trata da utilização de arranjos para grupos camerísticos com contrabaixo em obras populares brasileiras. Para isso apresenta alternativas para a ampliação do repertório popular brasileiro em câmara e do material didático, através da discussão de recursos técnico/expressivos do contrabaixo aplicados em arranjos para formações instrumentais variadas. O objetivo central foi realizar um estudo sobre a utilização de arranjos para formações camerísticas com contrabaixo, demonstrando funcionalidades pedagógicas e de possibilidades de aumento do repertório. O processo metodológico baseouse na revisão de literatura sobre a atuação do instrumento em gêneros da música popular, em especial o jazz, bem como na música de câmara e dos principais métodos de ensino utilizados no país. Para isso discutiu-se a utilização de recursos técnicos advindo desses dois universos musicais, aplicados em obras da música popular brasileira. O trabalho procurou evidenciar que a utilização de arranjos camerísticos de obras da música popular brasileira pode servir como alternativa para a ampliação do repertório para contrabaixo e material didático para o aprendizado do instrumento.
Books on the topic "Popular music pedagogy"
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Pop-culture pedagogy in the music classroom: Teaching tools from American idol to YouTube. Lanham, [Md.]: Scarecrow Press, 2010.
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Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.
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Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.
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Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.
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Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.
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Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.
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Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Popular and Folk Music). Ashgate Pub Co, 2008.
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Ain't I a Diva?: Beyoncé and the Power of Pop Culture Pedagogy. The Feminist Press at CUNY, 2019.
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Clarke, Cheryl, and Kevin Allred. Ain't I a Diva?: Beyoncé and the Power of Pop Culture Pedagogy. Feminist Press at The City University of New York, 2019.
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Biamonte, Nicole. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube. Scarecrow Press, Incorporated, 2010.
Find full textBook chapters on the topic "Popular music pedagogy"
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Anthony, Brendan. "Popular music production pedagogy." In Music Production Cultures, 135–44. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003055099-14.
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Anthony, Brendan. "Collaboration and creativity in popular music production pedagogy." In Music Production Cultures, 187–97. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003055099-19.
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Strange, Simon. "What Lessons can Higher Popular Music Education Learn from Art School Pedagogy?" In Popular Music Studies Today, 271–80. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_28.
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Anthony, Brendan. "The places and spaces of popular music production pedagogy." In Music Production Cultures, 109–20. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003055099-11.
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Shonk, Kenneth L., and Daniel Robert McClure. "Introduction: The Process and Pedagogy of Historical Theory." In Historical Theory and Methods through Popular Music, 1970–2000, 1–23. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_1.
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MacDonald, Michael B. "Thanks for Being Local: CineMusicking as a Critical Pedagogy of Popular Music." In The SAGE Handbook of Critical Pedagogies, 1242–54. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2020. http://dx.doi.org/10.4135/9781526486455.n112.
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Lebler, Don, and Naomi Hodges. "Popular music pedagogy." In The Routledge Research Companion to Popular Music Education, 272–84. Routledge, 2017. http://dx.doi.org/10.4324/9781315613444-22.
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Malawey, Victoria. "Chromatic Mediants in Popular Music." In The Routledge Companion to Music Theory Pedagogy, 350–54. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-59.
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Axtell, Ian, Martin Fautley, and Kelly Davey Nicklin. "Popular music meta-pedagogy in music teacher education." In The Routledge Research Companion to Popular Music Education, 357–68. Routledge, 2017. http://dx.doi.org/10.4324/9781315613444-28.
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Covach, John. "Popular Music in the Theory Classroom." In The Routledge Companion to Music Theory Pedagogy, 331–39. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-56.
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