The Bloomsbury Handbook of Popular Music Education最新文献

{"title":"The Vanishing Stave? Considering the Value of Traditional Notation Skills in Undergraduate Popular Music Performance Degrees","authors":"J. Dean","doi":"10.5040/9781350049444.ch-006","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-006","url":null,"abstract":"","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124498284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Considering Techne in Popular Music Education: Value Systems in Popular Music Curricula","authors":"M. Hunter","doi":"10.5040/9781350049444.ch-004","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-004","url":null,"abstract":"","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134041773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"What the Masters Teach Us: Multitrack Audio Archives and Popular Music Education","authors":"K. McNally, T. Seay, P. Thompson","doi":"10.5040/9781350049444.ch-009","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-009","url":null,"abstract":"Studies have shown that the recording studio sector has suffered a significant decline within the broader musical economies (Leyshon 2009), which has in turn affected popular music education and specifically the area of music production. For example, the continued loss of many larger recording studio facilities has resulted in fewer internship and apprenticeship opportunities for students, once a pillar of many music production programs. Perhaps more important is the fragmentation of the knowledge capitol that was traditionally found in larger recording facilities. Evidence that this knowledge is still valued by the broader community abounds on the internet, with any number of tutorials by commercially successful and historically significant engineers or producers on “how to give your mix more punch” or “tips on recording drums like a pro.” Indeed, entire business models are built upon providing a virtual studio experience and allowing consumers to access the knowledge, skills, and materials associated with that space. A prominent example of this practice is the Shaking Through online series offered by Weathervane Music, a recording studio based in Philadelphia. Their multimedia website consists of episodes centered on an artist or a band as they record a new song, and subscribers can watch documentarystyle videos of the band recording in the studio, along with a traditional music video (Weathervane Music 2014). The multitrack audio from the sessions is available to download alongside other material such as mix stems and recording notes. The recordings are advertised by Weathervane as “high-end” and “professionally recorded,” and subscribers are encouraged to create and share their own mixes of the song so they can receive feedback, critique, and encouragement from the studio’s in-house mix engineers.","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132318167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tertiary Popular Music Education: Institutions, Innovation and Tradition","authors":"G. Carfoot, B. Millard","doi":"10.5040/9781350049444.ch-005","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-005","url":null,"abstract":"This chapter examines how discourses of innovation and tradition play out in popular music education (PME) today. Drawing on comparative examples from the history of jazz education, we describe the ways that institutionalized music education tends to rely on genre-based models of pedagogical innovation, which in turn create binary oppositions between innovation and tradition. Like jazz education, PME has undergone an intense period of institutionalization—from the “street” to the “ivory tower”—where it has been defined in relation to the normative or traditional pedagogies of Western classical music (Nicholson 2005; Parkinson and Smith 2015). In contrast, we try to understand notions of innovation and tradition in more nuanced ways, in the hope of addressing some of the pedagogical pitfalls and crises that have faced jazz education; what Wilf has referred to as the paradoxes of institutionalized creativity (Wilf 2014) whereby jazz education has struggled to balance tradition and innovation (Kearns 2015). In particular, we suggest that the integration of PME in the tertiary environment can no longer be understood as innovative by default, or based on assumptions about musical genre (see Moir and Hails, Chapter 14 in this volume, for more discussion on this issue). Rather, we present a critical reading of the relationship between innovation and tradition, and how this might inform an “integrated” music pedagogy and educational practice in the twenty-first century, charting some of the challenges and opportunities that are presented by the rapid expansion of PME as a field of practice.","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130992975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“I See You, Baby …”: Expressive Gesture and Nonverbal Communication in Popular Music Performance Education","authors":"L. Pipe","doi":"10.5040/9781350049444.ch-023","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-023","url":null,"abstract":"Jane Davidson (2002, p. 146) states that ‘the use of the body is vital in generating the technical and expressive qualities of a musical interpretation’. Although technique and expression within music performance are separate elements, ‘they interact with, and depend upon, one another’ (Sloboda, 2000, p. 398) and, therefore, require equal consideration. Although it is possible for a musician to perform with exceptional technical prowess but little expression (Sloboda, 2000), it is important that the significance of the expressive qualities of the performer is acknowledged because whilst ‘sound is the greatest result of performance’ (Munoz, 2007, p. 56), music is not exclusively an auditory event, principally because ‘sound is essentially movement’ (Munoz, 2007, p. 56). It is vital to understand the importance of the delivery of expressive gesture just as much as the accomplishment of secure and proficient instrumental technique. \u0000 \u0000This chapter centres on findings from an ethnographic study into the use of expressive gesture and non-verbal communication in the ensemble rehearsal and performance practices of undergraduate popular music performance students. A discursive approach to performance and teaching practice is interwoven with relevant theoretical perspectives from the field of music education and beyond, and identifies relationships between gesture and the musical performance, and how the areas of leadership, trust and confidence can influence the expressive delivery of a performer. The chapter culminates in an explanation of how findings from this project provide the content for specifically designed classes and workshops which focus on the teaching of expressive performance to popular music performance undergraduates at the University of West London. These classes place the art of performance alongside the equally crucial skill of secure technique and proficient instrumental handling and allow performers to develop their own unique style of artistic expression – creating well-rounded, empathetic, and employable musicians who have a visceral understanding of their art form.","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122021644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Setting the Agenda: Theorizing Popular Music Education Practice","authors":"David Henson, Simon Zagorski-Thomas","doi":"10.5040/9781350049444.ch-002","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-002","url":null,"abstract":"Practical courses in popular music are often cited as examples of de-skilling and the lowering of standards in music higher education because one of the 'core' skills in traditional music pedagogy, expertise in music notation, is de-emphasised. While that may be true in many popular music performance and production courses, it is far less true in areas such as musical theatre. However, what this demonstrates is that popular music education, in the broadest sense from rock to pop to EDM to musical theatre, cannot afford to sit back and hope that this issue will resolve itself. Whether the aim is to produce highly skilled practitioners of the popular or alternative contemporary forms of thought provoking ‘art’ music, the identification of core skills and the theoretical framework that needs to underpin them is an essential part of the project. This chapter proposes three areas of core skills that reflect the differences (and connections) between popular music practice and ‘classical’ music skillsets. It also uses theoretical work on the ecological approach to perception (Gibson 1979; Clarke 2005; Zagorski-Thomas 2014), embodied cognition (Feldman 2008; Lakoff & Johnson 2003), conceptual blending (Fauconnier & Turner 2003), and the psychology and social anthroplogy of situated learning (Lave & Wenger 1990; Zaretskii 2009; Ingold 2013; Vygotsky 1980) to suggest ways in which these core skills can be engendered and encouraged through the formal learning structures of higher education. \u0000The three areas can be characterised as technique, collaboration and creativity: \u0000Technique: The techniques of popular music require a highly specialised approach to the micro-timing of rhythm and the use of gestural shape to control timbre. This is, of course, in addition to harmonic and melodic skills. A further factor is that all of these factors can be controlled through performance, constructed through computing software or some combination of the two. \u0000Collaboration: The forms of collaboration involved are also highly specialised. The importance of synchronised timing and expressive micro-timing calls for an ability to react to and entrain to the nuances of an ensemble performance. There is also the response to the creative variation of other participants. When technology is being used, there is also a need to interact with it on a musical level: in a sense, to collaborate with its designer. \u0000Creativity: The idea of learning creativity is a thorny subject. By taking a broad definition of the terms expressive performance, variation and improvisation to represent points on a continuum between newness and conformity to stylistic expectations, the notion of creativity will be explored in terms of recognising and exploiting the affordances of a given situation or process. \u0000Having identified some of these core skills, the notion of situated learning, including Vygotsky's zone of proximal development, and Lave's 'doing as learning' will be explored as structuring princip","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124030902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Something for All of Us”: Indie Ethics in Popular Music Education","authors":"Lloyd McArton, Nasim Niknafs","doi":"10.5040/9781350049444.CH-025","DOIUrl":"https://doi.org/10.5040/9781350049444.CH-025","url":null,"abstract":"","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123071954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Learning Experiences of Expert Western Drummers: A Cultural Psychology Perspective","authors":"Bill Bruford","doi":"10.5040/9781350049444.ch-007","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-007","url":null,"abstract":"This chapter explores the perceptions of the formative music learning experiences of a subset of expert popular music instrumentalists – drummers – and how the effects play out in the subsequent creative actions of the participants. It starts from the presumption that the experience of musical learning undergone by individuals who later develop as internationally recognized performers might warrant examination by virtue of the proven success of its outcomes. Most studies that focus on musical learning have done so within the context of Western classical music (Barrett 2011a, 265) and within that of student or early-career practitioners on pitched instruments. The learning experiences of high-level, peak-career experts on unpitched instruments in non-classical traditions have been much less examined, and it is the perceptions of such a group that provide the setting for this analysis. Evidence provided here will help demonstrate that a) informal learning may be more productive in some areas of music practice than formal learning; b) calls for the refocusing of the notion of practice to accommodate something more than solitary confinement with the instrument should not go unheeded; c) the somewhat under-sung value of non-deliberate practice demands equivalency with the acknowledged value of deliberate practice; and that d) parental involvement in learning may have both negative and positive impacts. Elements of action theory are used to situate learning in the context of drummers’ “community of practice” (Wenger 1998), itself embedded in a cultural system characterized in part by the unpitched nature of the instrument (Boesch 1987, Cole 1996). The community both shapes practitioners’ engagement and colours perceptions of action-choices.","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117141950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Popular Music Education: A Way Forward or a New Hegemony?","authors":"Juliet Hess","doi":"10.5040/9781350049444.CH-003","DOIUrl":"https://doi.org/10.5040/9781350049444.CH-003","url":null,"abstract":"","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122405921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction Popular Music Education: Perspectives and Practices","authors":"Zack Moir, Bryan Powell, G. Smith","doi":"10.5040/9781350049444.ch-001","DOIUrl":"https://doi.org/10.5040/9781350049444.ch-001","url":null,"abstract":"","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129717065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}