Journal articles: '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.

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Oehler, Susan, and Jason Hanley. "Perspectives of Popular Music Pedagogy in Practice: An Introduction." Journal of Popular Music Studies 21, no. 1 (March 2009): 2–19. http://dx.doi.org/10.1111/j.1533-1598.2009.01167.x.

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Abramo, Joseph Michael. "Queering informal pedagogy: sexuality and popular music in school." Music Education Research 13, no. 4 (December 2011): 465–77. http://dx.doi.org/10.1080/14613808.2011.632084.

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Ng, Hoon Hong. "Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning." Research Studies in Music Education 42, no. 1 (October 2, 2018): 56–76. http://dx.doi.org/10.1177/1321103x18774345.

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Informal pedagogy is closely associated with popular music practices, its methods known to engage students in authentic music learning that develops critical and independent thinking skills, social skills, creativity and self-identity, among others. However, formal and non-formal pedagogies also have relevant roles to play in popular music learning in the classroom, though their roles and interactions with informal pedagogy may require exploration. A recent survey conducted in Singapore schools suggests that a significant number of music teachers have never engaged their students in popular music practices, and they have no confidence in adopting appropriate pedagogies to effectively enable popular music learning. This article seeks to address the issue by reviewing relevant pedagogies and how they are employed in popular music programmes in two Singapore secondary schools. I will first examine the current discussion on formal, non-formal and informal pedagogies and their implications for music teaching and learning. Secondly, I will relate the discussion to two empirical case studies which adopt these learning approaches in popular music classes to examine their applications and how they interact in actual classroom situations. Based on this, I will suggest that a synthesis of these pedagogies in constant, complementary dialogue within and beyond the classroom paves the way towards a complete and holistic curriculum and learner experience.

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Anthony, Brendan, Paul Thompson, and Tuomas Auvinen. "Learning the ‘tracker’ process: A case study into popular music pedagogy." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 211–35. http://dx.doi.org/10.1386/jpme_00026_1.

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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications.

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Lebler, Don, and Donna Weston. "Staying in Sync: Keeping Popular Music Pedagogy Relevant to an Evolving Music Industry." IASPM@Journal 5, no. 1 (May 20, 2015): 124–38. http://dx.doi.org/10.5429/2079-3871(2015)v5i1.8en.

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Niknafs, Nasim. "Engaging with Popular Music from a Cultural Standpoint: A Concept-Oriented Framework." Music Educators Journal 106, no. 1 (September 2019): 25–30. http://dx.doi.org/10.1177/0027432119855693.

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The last two decades in the North America have seen a resurgence of scholarly and practitioner activities advocating for integrating more popular music in music classrooms both through repertoire and pedagogy. However, the emphasis has been on Western-oriented popular music practices, neglecting those of other cultures, even though there is a major increase in population diversity occurring in the United States and Canada. This article examines the concept-oriented framework, through which, instead of exploring popular music geographically, one can engage with the wider concept of popular music across cultures. The framework consists of a central concept selected by music teachers and students and is contextualized by various areas of exploration. Popular music can play an influential, transformative, and socially just role in improving numerous situations.

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Eusterbrock, Linus. "Climate-conscious popular music education: Theory and practice." Journal of Popular Music Education 6, no. 3 (November 1, 2022): 385–401. http://dx.doi.org/10.1386/jpme_00098_1.

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Given popular music’s impact and its tradition in environmental activism, popular music education seems suited to contribute to a societal transformation towards sustainability in which the arts are increasingly considered to play an important role. The article proposes goals and methods of a climate-conscious popular music education, illustrated with examples from the author’s experience in music education. Drawing from and adding to eco-literate music pedagogy and activist music education, the article suggests that a climate-conscious popular music education should include: reducing the carbon footprint of educational practices; cultivating ecological consciousness, i.e. a connection to and appreciation of local nature; understanding climate change as a complex issue of intergenerational and global justice; using the specific potential of music to help overcome barriers to climate action, in particular its sensory, imaginative, creative, emotional, expressive and communal character.

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Maybin, Colleen B. "Disrupting the status quo: Educating pre-service music teachers through culturally relevant pedagogy." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 469–85. http://dx.doi.org/10.1386/jpme_00007_1.

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Scholars theorizing in the area of social justice and music education argue that music has the potential to prepare students to engage in a society that cultivates personal freedom and democratic participation. The continued reliance on values and practices of Western art music within music teacher education has resulted in a disconnect between this discourse and professional practice. The status quo perpetuates conditions that limit accessibility, privilege western art music and maintain whiteness as ‘normal’. In this article, I suggest that this disconnection can be addressed by introducing culturally relevant pedagogy within music education training programmes. Culturally relevant pedagogy, focusing on reflexive practice and place-based education, requires pre-service music educators to think deeply about experiences of marginalized music education students and critically examine the values and beliefs they hold. Embedding the values of culturally relevant pedagogy within music education training creates space for music from different cultural contexts including popular music.

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Ng, Hoon Hong. "Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives." British Journal of Music Education 35, no. 3 (March 19, 2018): 301–19. http://dx.doi.org/10.1017/s0265051717000274.

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The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.

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Vasil, Martina. "Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education." International Journal of Music Education 37, no. 2 (February 19, 2019): 298–310. http://dx.doi.org/10.1177/0255761419827367.

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The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into their secondary school music programs in the United States. A primary goal was to understand music teachers’ process of enacting change. Data included 16 semi-structured interviews, eight school site visits and observations, documents, and a researcher journal. Findings revealed that teachers enacted change within micro-contexts—their classrooms. Teachers had an internal locus for change; they developed rationales for change and initiated curricular changes in response to a lack of student engagement, which seemed to stem from students feeling insecure in their musical abilities and disconnected from the content and pedagogy used in music classes. For the teachers in this study, the solution was integrating popular music and informal music learning practices. Thematic analysis revealed eight characteristics of effective teacher-initiated change in secondary music education: (1) holistic and gradual change processes, (2) teacher reflection and inquiry, (3) teacher autonomy, (4) enabling institutional factors, (5) use of a variety of supportive networks, (6) student-centered pedagogy, (7) teacher-selected professional development, and (8) a balance of structure and chaos and formal and informal learning.

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Vasil, Martina, Lindsay Weiss, and Bryan Powell. "Popular Music Pedagogies: An Approach to Teaching 21st-Century Skills." Journal of Music Teacher Education 28, no. 3 (December 12, 2018): 85–95. http://dx.doi.org/10.1177/1057083718814454.

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Changes in the world economy and U.S. educational policy present music educators with the challenge of reassessing traditional pedagogy to ensure they are instructing and assessing in ways that contribute to students’ development of 21st-century knowledge and skill sets. Educators are responding by incorporating pedagogical approaches that challenge students to think critically, problem solve collaboratively, and use technology and media efficiently. Popular Music Pedagogies (PMPs) invite students, music teachers, and music teacher educators to take risks, learn alongside one another, and address 21st-century knowledge and skills through engaging with the music that students choose and create. In this article, we define PMPs and discuss how music teacher educators can incorporate PMPs into music teacher education programs to better prepare preservice and inservice music teachers to function within a Partnership for 21st Century Learning framework.

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Chen, Jason Chi Wai, and Susan A. O’Neill. "Computer-mediated composition pedagogy: Students’ engagement and learning in popular music and classical music." Music Education Research 22, no. 2 (March 9, 2020): 185–200. http://dx.doi.org/10.1080/14613808.2020.1737924.

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Abeles, Hal, Lindsay Weiss-Tornatore, and Bryan Powell. "Integrating popular music into urban schools: Assessing the effectiveness of a comprehensive music teacher development program." International Journal of Music Education 39, no. 2 (January 18, 2021): 218–33. http://dx.doi.org/10.1177/0255761420986220.

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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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Rescsanszky, Matthew J. "Mixing Formal and Informal Pedagogies in a Middle School Guitar Classroom." Music Educators Journal 103, no. 4 (June 2017): 25–33. http://dx.doi.org/10.1177/0027432117697360.

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Many music educators feel unprepared or are unsure of how to use popular music in their classrooms. This article details the author’s experience designing, implementing, and revising a student-centered guitar curriculum in an urban middle school. Reflecting on this experience, the author defends the place of popular music and informal pedagogy in the classroom, highlighting the opportunities they provide for authentic and meaningful musical learning for all students while retaining more traditional approaches that music educators continue to find effective modes of instruction.

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Schwartz, Jeff. "Writing Jimi: rock guitar pedagogy as postmodern folkloric practice." Popular Music 12, no. 3 (October 1993): 281–88. http://dx.doi.org/10.1017/s0261143000005729.

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Most instruction in electric guitar, bass guitar, drums and electronic keyboards is conducted on a one-to-one basis by uncertified, independent teachers. The lessons are face-to-face, and based on the student's imitation of the teacher's example. Popular music education is a ‘little tradition’ (in comparison to school music departments) and largely an oral one, thus meeting the usual criteria of folk cultures.

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Sole, Meryl. "Bach Re-Invention: Bridging classical and popular music in the college classroom." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 309–27. http://dx.doi.org/10.1386/jpme.3.2.309_1.

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This article highlights a composition project from an undergraduate musicianship course at a private liberal arts college. For the project, students studied a Prelude by J. S. Bach and utilized their analysis as a framework to compose new melodies. Instead of writing in the style of Bach, many students chose to transform their compositions into popular music styles. The study discusses the students’ processes and addresses how the new compositions were largely representative of popular music in a range of styles including heavy metal, punk, surf and rap. The unexpected transformations became an opportunity to implement a responsive pedagogy that became a bridge between classical and popular music. Implications for teaching are presented and include discussion of the use of popular music in the undergraduate theory classroom.

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Quin, Rhythy. "East meets West: Investigating the state of DJing culture and turntablism pedagogy in China." International Journal of Music Education 39, no. 3 (February 10, 2021): 327–39. http://dx.doi.org/10.1177/0255761421990813.

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In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education.

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Lipton, Mark. "I Wanna Be a Rock Star: My Personal Pedagogy of Popular Music1." Journal of Popular Music Studies 9-10, no. 1 (September 1997): 101–8. http://dx.doi.org/10.1111/j.1533-1598.1997.tb00110.x.

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Väkevä, Lauri. "Garage band or GarageBand®? Remixing musical futures." British Journal of Music Education 27, no. 1 (January 26, 2010): 59–70. http://dx.doi.org/10.1017/s0265051709990209.

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In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.

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Lebler, Don. "Student-as-master? Reflections on a learning innovation in popular music pedagogy." International Journal of Music Education 25, no. 3 (December 2007): 205–21. http://dx.doi.org/10.1177/0255761407083575.

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Chun-Long Sit, Exodus. "Reframing Pedagogy: Teaching Astronomy through STEAM Innovation." Proceedings of the International Astronomical Union 15, S367 (December 2019): 381–83. http://dx.doi.org/10.1017/s1743921321000375.

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AbstractThis contribution explores the reframing of promoting Astronomy as popular science, inspired by the COVID-19 pandemic. Through STEAM Innovation, integrating science and arts, such as Astro-Music and Space Art, would be a case in point of forced association. It redefines our methodology of Astronomy education and encourages the engagement of teachers from other disciplines. Supporting with user-centered design thinking, this pedagogy contributes effectively to the interactive teaching for solving real-life problems related to Astronomy.

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Hoad, Catherine, Oli Wilson, Shelley Brunt, Gene Shill, and Ben Howe. "Work-integrated learning in university popular music programmes: localised approaches to vocational curricula in Melbourne, Australia and Wellington, Aotearoa/New Zealand." British Journal of Music Education 37, no. 2 (April 27, 2020): 181–92. http://dx.doi.org/10.1017/s0265051720000066.

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AbstractThis article investigates the possibilities of a vocational pedagogy for undergraduate popular music education which is grounded in site and city. The value of work-integrated curricula in tertiary music environments is well established; however, often absent from such discussions is consideration of how geospatial contexts mediate the opportunities and resources available to universities. In response, we provide a critical comparison of how work-integrated learning (WIL) has been developed in two undergraduate popular music degrees in Australia and Aotearoa/New Zealand. Through comparison, we consider how the geographic locations of both programmes have shaped WIL, as well as identifying the specific economic, cultural and political tensions that emerge.

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Lorway, Verne Hélène. "A toe-tapping good time: Informal musicking through critical pedagogy in inclusive settings." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 497–511. http://dx.doi.org/10.1386/jpme_00009_1.

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This article draws upon the experiences of the author as a music educator creating inclusive music programmes over the past 24 years. She describes how informal learning gleaned from the approaches of popular musicians, combined with musicking as a means of building powerful relationships and critical pedagogy to infuse student voices into the teaching and learning process is a potent recipe for building an inclusive music class. Such a method needs to be guided by music educators throughout the learning process. Examining inclusive music education leads to further questions regarding what constitutes musicality and non-musicality in western society. When persons of all ages are involved in musicking in school and community contexts, music educators need to be involved in the challenges surrounding notions of musicality and non-musicality to steer processes that can create spaces for learning and growth.

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Jones, Sara K., and Julie D. Derges. "Making the Schoolhouse Rock: A Content Analysis of Two Popular Music Pedagogies." Bulletin of the Council for Research in Music Education, no. 233 (July 1, 2022): 69–95. http://dx.doi.org/10.5406/21627223.233.04.

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Abstract In popular music education, there has been an increase in the amount of literature, pedagogical resources, and organizations that are available, and two pedagogical approaches for teaching popular music are informal music learning (IML) and modern band (MB). However, there is little existing scholarly critical analysis comparing these approaches. The purpose of this qualitative directed content analysis was to explore the similarities and differences between IML and MB in kindergarten through 12th-grade settings and examine how major characteristics of each approach are represented in scholarly and curricular resources. While similarities exist in the literature on these approaches, there are also distinct differences between them, such as orientation toward process or performance, use of composition and improvisation, and teacher role and approach. Moreover, the representation of the principles of both IML and MB were not always consistent in the resources we examined, with some aspects highly represented and others rarely mentioned. Learning more about both approaches could be beneficial to scholars and teachers interested in popular music pedagogy and how they are implemented in classrooms.

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Feichas, Heloisa. "Bridging the gap: Informal learning practices as a pedagogy of integration." British Journal of Music Education 27, no. 1 (January 26, 2010): 47–58. http://dx.doi.org/10.1017/s0265051709990192.

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This work derives from a doctoral research study which looked at the differences in students' attitudes towards learning music in a Brazilian music higher education institution, while taking into account their different music learning backgrounds. The students' backgrounds (which consist of their set of musical experiences and music-learning processes that had been acquired and developed in their lives before entering the university course) are divided into three types: (i) those who have acquired their skills and knowledge mostly through informal learning experiences, particularly in the world of popular music; (ii) those who have only experienced classical training either within institutions such as music schools, or privately; and (iii) those whose backgrounds consist of both informal learning and classical training. These different backgrounds are termed here formal, informal and mixed. The research also discusses the gap between the way music is conceived and taught within the university and the reality students will have to face outside university. It further suggests that the traditional teaching approaches for music in higher education are possibly inadequate for educating university students from varied music learning backgrounds, especially those with informal music learning backgrounds. After examining some findings of the research, the paper proposes pedagogical strategies in which informal music learning practices might help the integration of students from different backgrounds, encouraging students' diversity and their inclusion in the university music school environment. The suggested strategies exemplify approaches that enable the students to bridge the gap between their own musical practices and those they are expected to learn in their institution. In this case, the students have more autonomy and the teacher becomes a facilitator of the process.

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Georgii-Hemming, Eva, and Maria Westvall. "Music education – a personal matter? Examining the current discourses of music education in Sweden." British Journal of Music Education 27, no. 1 (January 26, 2010): 21–33. http://dx.doi.org/10.1017/s0265051709990179.

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The embedding of informal practices in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last 10 years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from ‘School Music’ to ‘Music in School’. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur – both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools, and what is sometimes called informal learning, is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education in Sweden has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the potential to be of interest to international music education research.

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Howard, Dori. "Learning and teaching the Beatles." Journal of Beatles Studies: Volume 2022, Issue Autumn 2022, Autumn (September 1, 2022): 11–38. http://dx.doi.org/10.3828/jbs.2022.3.

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This article considers Liverpool Hope University’s Master of Arts degree in The Beatles, Popular Music and Society — which was the world’s first academic degree specifically related to the study of the Beatles — through reflective investigation into its structure, pedagogy and foundation in popular music studies. Using the writer’s own experiences as a both a graduate of and lecturer for the programme, the article considers the validity of academic study of the Beatles, the appropriateness of the MA’s approaches to this study and the usefulness of these for current and future Beatles scholarship. This article was published open access under a CC BY licence: https://creativecommons.org/licences/by/4.0.

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Trippett, David. "Exercising Musical Minds: Phrenology and Music Pedagogy in London circa 1830." 19th-Century Music 39, no. 2 (2015): 99–124. http://dx.doi.org/10.1525/ncm.2015.39.2.99.

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The icon of the machine in early-nineteenth-century Britain was subject to a number of contemporary critiques in which pedagogy and the life of the mind were implicated, but to what extent was education in music composition influenced by this? A number of journal articles appeared on the topic of music and phrenology, bolstered by the establishment of the London Phrenological Society (1823), and its sister organization, the British Phrenological Association (1838). They placed the creative imagination, music, and the “natural” life of the mind into a fraught discourse around music and materialism. The cost of a material mind was a perceived loss of contact with the “gifts of naturer … the dynamical nature of man … the mystic depths of man's soul” (Carlyle), but the concept of machine was also invested with magical potential to transform matter, to generate energy, and can be understood as a new ideal type of mechanism. These confliciting ideals and anxieties over mechanism, as paradigm and rallying cry, are here situated in the context of music pedagogy during the second quarter of the century, with particular reference to amateur musicians and the popular appeal of phrenological “exercise,” and of devices such as Johann Bernhard Logier's “chiroplast.”

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Anthony, Brendan. "Creative Conceptualisation: Nurturing Creative Practice through the Popular Music Pedagogy of Live Recording Production." IASPM@Journal 5, no. 1 (May 20, 2015): 139–56. http://dx.doi.org/10.5429/2079-3871(2015)v5i1.9en.

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Söderman, Johan. "Holistic educational ideals and pedagogy of trust within popular music education in civil society." Journal of Popular Music Education 2, no. 1 (August 1, 2018): 65–80. http://dx.doi.org/10.1386/jpme.2.1-2.65_1.

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Crichlow, Warren E. "Against the Grain: popular music, pedagogy and cultural politics in the films of Isaac Julien." Discourse: Studies in the Cultural Politics of Education 16, no. 3 (December 1995): 391–406. http://dx.doi.org/10.1080/0159630950160308.

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Rauduvaitė, Asta. "The Increasing Effectiveness of Musical Education by Popular Music." Pedagogika 110, no. 2 (June 10, 2013): 87–95. http://dx.doi.org/10.15823/p.2013.1823.

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The article investigates the opportunities of musical education effectiveness increase by fostering attitudes of moral values for young schoolchildren by integrating a popular music. The attitudes of moral values are based on the context of pedagogical thoughts and theories of psychological development; following the research results the relations and opportunities of improvement of schoolchildren musical activities and attitudes of moral values are being discussed. The importance of values in the process of education is obvious for most of the education policy-makers and practicians of different countries. The attitudes of values are a priority goal in strategic documents and respond new challenges for education, i.e. rapid changes of country’s social and economic areas as well as growing opportunities for implementing educational innovations. Therefore, while raising educational goals, it is important to consider all the factors which could influence them, as well as maintain a schoolchild’s relation with the perceived reality. In this context primary musical education with it’s attractive forms of activities while integrating popular music, could contribute to the development for the integral educational process of a schoolchild‘s attitudes of moral values, competences, knowledge and perception. The relevance of the issue is young schoolchildren interest in popular music and controversial attitudes towards it’s influence. Looking to modern personal and professional ambitions, considering the attractiveness of popular music, which corresponds the demands of schoolchildren, the problem of modern music pedagogy is young children’s education of attitudes of moral values by actively integrating a popular music. The analysis of scientific literature reveals that popular music is a distinctive sociocultural factor, a source of internal force expression; therefore, it’s involvement to the process of education could satisfy the demands of schoolchildren self-expression and self-education, stimulates it’s value based importance. Thus, in the context of pedagogical thoughts and theories of psychological development, the effectiveness of musical education could be increased in the following way: an introductory teacher’s speech, to familiarize schoolchildren with the perception of music composition / musical activity → an identification of music intonations, an experience of music → an outline of musical experience by telling a perceived personal meaning → modelling of virtual situation of moral content → decision making → evaluation → an appropriate perception and etc. These are the factors that positively enhance a schoolchild‘s maturity of musical and value based perception. The research results reveal that a method of personal meaning is accepted and efficient for education of attitudes of moral values by popular music of young schoolchildren. The application of the idea of personal meaningfulness for primary musical education, stimulates a child’s reflections and perception of relation between spiritual feelings and thoughts. A method of personal meaning reveals not only an individuality of knowledge, but also a perceivers position, his axiological attitude.

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Rauduvaitė, Asta. "Improvement of music education employing innovative methods." Pedagogika 113, no. 1 (March 5, 2014): 100–111. http://dx.doi.org/10.15823/p.2014.1754.

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The article discusses possibilities for improvement of music education employing innovative methods of personal meaning and emotional imitation: the topicality of this process while developing value-based attitudes of junior school age children and integrating popular music in the context of theories of pedagogical thought development is substantiated, following the results of the research, the links of school students’ music activities and formation of value-based principles are discussed as well as possibilities for music education improvement in a contemporary school.On the basis of scientific literature analysis, education at present is perceived as an integral process of constant change and continuity, which is purposefully directed towards improvement of relations of an individual with the surrounding world. History of human culture and accumulatedpedagogical experience serve as foundation for general music education today, for linking of past and present values of music culture as well as for their nurturance.A considerable number of researchers in general pedagogy tend to ascribe a very important educative function to music but the role of popular music, as a modern cultural phenomenon, remains unrevealed. The conducted research allows to conclude that striving for improvement of content of traditional music education, the methods of personal meaning and emotional imitation are acceptable to develop value-based principles of junior school children through integration of popular music. The idea of personal meaning method enables learners to communicate with music in a way, which creates preconditions for better cognition of oneself and others.Method of emotional imitation enables a learner to pursue a higher goal, i.e., an ability to live using personally created feelings and thoughts. All this is as if a music-based pretext to communicate with oneself and with others creating a possibility for turning back and looking forward. Thus, not only individuality of cognition but also a value-based attitude of a perceiver are revealed.

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Smith, Gareth Dylan, and Virginia Wayman Davis. "A Critical Examination of Percussion and Drums in the Collegiate Curriculum." Bulletin of the Council for Research in Music Education, no. 231 (January 1, 2022): 25–40. http://dx.doi.org/10.5406/21627223.231.02.

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Abstract The drum kit is a musical instrument comprising various items of percussion. It is ubiquitous in popular music (the majority of music produced and consumed by contemporary society) but is largely excluded as a requirement in the collegiate percussion studio. The authors contextualize this phenomenon in the wider cultural disparity between music in society (99% rock, pop, hip-hop and other contemporary styles) and music in higher education (almost exclusively Western art music and jazz). We ask the following four research questions: (1) How frequently is drum kit taught in the collegiate percussion studio, relative to other percussion instruments? (2) If drum kit is taught, what topics are taught? (3) If the participants play drum kit themselves, how did they learn? (4) What opportunities and/or challenges exist for drum kit instruction in the percussion studio? Fifty collegiate percussion instructors completed an online survey. Participants agreed that drum kit is important for music-making and teaching after leaving college, but for most, drum kit takes a backseat to snare drum, timpani, and marimba as foundational instruments of Western art music. We argue that including drum kit in the collegiate studio would require a shift in pedagogy and aesthetic orientation, but that such shifts are necessary in order for the collegiate percussion studio to remain relevant. Further research is required to understand how the percussion studio and higher music education more broadly can better serve students and society, including in music teacher education and in kindergarten through 12th grade schools. This article's exploration of drum kit and percussion underscores the importance of discussing the places and purposes of myriad musics and musicians throughout music education contexts.

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Brook, Julia, Robbie MacKay, and Chris Trimmer. "How does a rock musician teach? Examining the pedagogical practices of a self-taught rock musician–educator." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 203–23. http://dx.doi.org/10.1386/jpme.3.2.203_1.

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This research examines the pedagogical practices of a self-taught musician who teaches music at an elementary school in Canada. Research on the ways that popular musicians teach has shown that many teachers use a combination of informal and formalized structures. We used Personhood theory as a conceptual framework to illuminate how the context and disposition of the musician–teacher informs their pedagogy. These findings demonstrate how context and disposition inform pedagogical practices and the ways that the teacher’s personhood contributes to students’ learning. We collected data through interviews with the teacher and school principal, distributed questionnaires to students and observed performances. Findings show that one’s personhood can contribute to the medium, message and messenger within a music education setting. Personhood theory helps frame the nested nature of these relationships and these findings point to the need to support development of in-service and pre-service teachers’ personhood.

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McPhail, Graham. "Informal and formal knowledge: The curriculum conception of two rock graduates." British Journal of Music Education 30, no. 1 (July 2, 2012): 43–57. http://dx.doi.org/10.1017/s0265051712000228.

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Informal learning has become a prominent theme in music education literature in recent times. Many writers have called for a new emphasis on informal knowledge and pedagogy as the way forward for music education. The position taken in this paper is that a central issue for music education is the accommodation of a tension between types of knowledge and the ways of knowing strongly associated with popular and classical of music – socially acquired informal knowledge and socially developed but formally acquired disciplinary knowledge. Approaches to curriculum conception and realisation observed in a recent series of case studies in New Zealand secondary schools suggest that a key factor in student engagement is the degree to which teachers can create links between informal and formal knowledge so that students’ understanding and conceptual abilities can be extended across these knowledge boundaries. The teaching approaches of two recent graduates in rock music are discussed to support the social realist argument that a ‘progressive’ approach to curriculum involves creating links between informal and formal knowledge rather than replacing one with the other or dissolving the boundaries between them. Through seeing the two types of knowledge as necessarily interconnected within educational contexts, the epistemic integrity of classroom music is maintained. In this way students are able to recognise themselves and their aspirations while also recognising the potential and power of the foundational knowledge of the discipline.

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Campbell, Patricia Shehan, Christopher Mena, Skúli Gestsson, and William J. Coppola. "‘Atawit Nawa Wakishwit’: Collective songwriting with Native American youth." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 11–28. http://dx.doi.org/10.1386/jpme.3.1.11_1.

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This article chronicles a four-month facilitative teaching collaboration between a music education team from the University of Washington and youth enrolled in a Native American tribal school in the Pacific Northwest of the United States. The collaboration embraced a creative process honouring student voices, community values, principles of indigenous pedagogy, and an earnest effort to support student expressive impulses that blend their Native American heritage with a pervasive interest in popular music. A collective songwriting process with roots in indigenous practices from Chiapas, Mexico was employed as the framework through which students confronted social and cultural matters. The school is located in a community where language and ways of living are threatened – a concern upon which students reflected in writing a song partly in their endangered Native language of Sahaptin. The process is described as a pathway to the use of creative avenues that address social issues among marginalized youth towards artistic and sociomusical ends.

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Folkestad, Göran. "Formal and informal learning situations or practices vs formal and informal ways of learning." British Journal of Music Education 23, no. 2 (June 29, 2006): 135–45. http://dx.doi.org/10.1017/s0265051706006887.

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During the last decade there has been an awakening interest in considering not only formalised learning situations within institutional settings, but also all the various forms of informal musical learning practices outside schools. Informal musical learning outside institutional settings has been shown to contribute to important knowledge and aspects of music education. In this article, I will examine research studies which in different ways focus on formal and informal learning situations and practices or formal and informal ways of learning. I will consider the relationship between music education as praxis (music pedagogy) and as research, and the relationship between these two facets of music education and the surrounding society. I will identify four different ways of using and defining formal and informal learning, respectively, either explicitly or implicitly, each one focusing on different aspects of learning: (i) the situation, (ii) learning style, (iii) ownership, and (iv) intentionality. Formal – informal should not be regarded as a dichotomy, but rather as the two poles of a continuum; in most learning situations, both these aspects of learning are in various degrees present and interacting. Music education researchers, in order to contribute to the attainment of a multiplicity of learning styles and a cultural diversity in music education, need to focus not only on the formal and informal musical learning in Western societies and cultures, but also to include the full global range of musical learning in popular, world and indigenous music in their studies.

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Harris, Taran. "Treating Audio Manipulation Effects like Photoshop: Exploring the Negative Impacts of a Lack of Transparency in Contemporary Vocal Music on Young Learners." INSAM Journal of Contemporary Music, Art and Technology, no. 8 (July 15, 2022): 47–59. http://dx.doi.org/10.51191/issn.2637-1898.2022.5.8.47.

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Amidst the great and rapid advance in digital audio processing over recent decades, a range of new ‘manipulation’ software has problematised the popular music scene, both in terms of authenticity and achievability of performance. This paper will set out to define manipulation effects as separate from the more over-arching umbrella term of staging effects, under which they have been vaguely included for a number of years. By separating out the staging of vocals from the manipulation of their core content, by pitch correction for example, we can more specifically observe their impact on audience reception and vocal pedagogy. The reception element of this research would be largely related to that of authenticity and the presentation of liveness in online video, but this paper will focus on the effect of the unachievable on vocal learners. These could range from confidence issues to serious vocal problems. This paper explores the possibilities of music following the same trajectory as photography, where manipulation is concerned. Photoshop’s usage in media has provoked a great deal of controversy in recent years, with high profile campaigns resulting in legislative changes such as Israel’s Photoshop Law, which imposes certain restrictions for models and a disclaimer requirement for publishers. It’s a possibility that if the music industry were required to provide disclaimers for audio releases and online videos, that there would be more transparency in vocal pedagogy, with the potential for fewer vocal health problems related to copying unachievable performances. The aim of this paper is to open a conversation about the effect of a lack of transparency surrounding audio manipulation so that more can be done to address it.

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Archer, Steve. "Thought Beats: New Technology, Music Video and Media Education." Media International Australia 120, no. 1 (August 2006): 142–55. http://dx.doi.org/10.1177/1329878x0612000116.

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This paper has as its focus two key strands that are significant to contemporary media education. The first is the increasing move towards creative production work as the central and dominant feature of media studies courses. In UK schools, this has largely been facilitated by the rapid expansion of digital technologies. Whilst this offers unprecedented opportunities for students to construct advanced and highly polished artefacts, it has also created new challenges for the media teacher in relation to pedagogy and classroom management. The second strand is the emergence of globalised, commercial media cultures and their relation to new media forms facilitated by digital technology. Here, this paper is interested in the relatively new media form of the music video which, in its dominant mode of distribution and exhibition, exists globally as part of satellite and digital packages. Music video as a form is ideal for use in Media Studies as an object of study and as a framework for facilitating creative work. Based on practitioner research methods, this paper teases out the tensions that exist between popular culture, media education and digital technology, incorporating the way a sense of community located beyond the school can create opportunities for student creative work.

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Journal articles on the topic 'Popular music pedagogy'

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