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Techno DIY: Teaching Creativity through Music Production 科技DIY:通过音乐制作教授创造力
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.CH-031
R. Bicknell
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引用次数: 1
Breaking Down Barriers to Participation: Perspectives of Female Musicians in Popular Music Ensembles 打破参与的障碍:流行乐团中女性音乐家的视角
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.ch-024
Bryan Powell
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引用次数: 6
On the Road to Popular Music Education: The Road Goes on Forever 在流行音乐教育的道路上:这条路永远走下去
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.ch-032
John Kratus
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引用次数: 2
“How Do I Get the Grades?” Creativity and Conflicts of Motivation, Risk, and Reward “我怎样才能拿到成绩?”创造力与动机、风险和回报的冲突
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.CH-028
Renée Stefanie
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引用次数: 0
Digital Storytelling, Reflective Teacher Inquiry, and Student Learning: Action Research via Media Technology 数位叙事、教师反思性探究与学生学习:透过媒体技术的行动研究
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.ch-030
Daniel A. Walzer
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引用次数: 0
Popular Music Education: Identity, Aesthetic Experience, and Eudaimonia 流行音乐教育:身份认同、审美体验与快乐
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.CH-022
G. Smith
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引用次数: 1
Sleepwalkers, Beware: Toward a Post-Structuralist Critique of Popular Music in Higher Education 梦游者，当心:走向高等教育中流行音乐的后结构主义批判
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.CH-015
Zack Moir, J. Hails
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引用次数: 0
When Is a Drummer not a Drummer? Developing Coordination, Musicianship, and Creativity through Electronic Drum Performance 什么时候鼓手不是鼓手?通过电子鼓表演发展协调、音乐和创造力
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.CH-014
Bryden Stillie
{"title":"When Is a Drummer not a Drummer? Developing Coordination, Musicianship, and Creativity through Electronic Drum Performance","authors":"Bryden Stillie","doi":"10.5040/9781350049444.CH-014","DOIUrl":"https://doi.org/10.5040/9781350049444.CH-014","url":null,"abstract":"If asked to describe the instrument a drummer plays, most people would probably describe an acoustic drum kit, consisting of a bass drum, snare drum, tom toms, and cymbals. It is unlikely that the words “hybrid” or “electronic” would be part of the language used. The technologies related to drumming have seen significant advancement since the first electronic drum kits in the early 1980s, and these technologies have played a significant role in shaping the way music sounds today. Throughout this chapter I refer to three different types of drum kit setup; these are as follows: (1) “acoustic,” the traditional drum kit setup; (2) “electronic,” pads/triggers used to activate electronic sounds from a sound module or computer; and (3) “hybrid,” a setup containing a mixture of acoustic drums, electronic pads/triggers, and/or sample pads1 or percussion controllers (Figure 13.1).2 At the age of 14 I received two Christmas gifts that would go on to define my career in musical performance and drum kit teaching. The first was the drum kit instructional VHS tape, Bruford and the Beat (Bruford 1982). The second was a Yamaha DD-11 digital drum kit. The opening scene of the instructional video shows drummer Bill Bruford playing his hybrid drum kit, which combined a Tama acoustic drum kit and Simmons3 electronic drum kit. The sound produced from the first three pads he played (a total of fourteen notes) became the inspiration for my approach to teaching creative use of drum kit related music technology, in my current role as Senior Lecturer in Music on the BA Popular Music program at Edinburgh Napier University, Scotland. This chapter presents and examines an innovative approach to teaching drum kit related technologies through the creation of a solo electronic drum performance undertaken by my Year 3 (undergraduate) drum kit students. The project requires students to recreate a song of their choosing, using music creation software,4 and then perform 13","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":"131370122","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}
引用次数: 2
Popular Music in the High School: Crafting and Implementing a Curriculum 高中流行音乐:课程的设计与实施
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.CH-021
Julie M Beauregard
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引用次数: 3
Nonformal Teaching and Informal Learning: Popular Music Education and Orff Schulwerk 非正式教学与非正式学习:流行音乐教育与奥尔夫·舒尔沃克
The Bloomsbury Handbook of Popular Music Education Pub Date : 1900-01-01 DOI: 10.5040/9781350049444.CH-018
Martina Vasil
{"title":"Nonformal Teaching and Informal Learning: Popular Music Education and Orff Schulwerk","authors":"Martina Vasil","doi":"10.5040/9781350049444.CH-018","DOIUrl":"https://doi.org/10.5040/9781350049444.CH-018","url":null,"abstract":"","PeriodicalId":268541,"journal":{"name":"The Bloomsbury Handbook of Popular Music Education","volume":"98 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":"123026416","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}
引用次数: 2
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