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Vernacular Music in the Choral Classroom

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Vernacular Music in the Choral Classroom Vernacular Music in the Choral Classroom Jessica McKiernan & Colleen McNickle 2020 Ohio Music Education Association Professional Development Conference Friday, January 31st, 8:00am – Hyatt Buckeye Session Handout Videos Choir! Choir! Choir! sings “Shallow” from A Star Is Born - https://www.youtube.com/watch?time_continue=26&v=fTQk2M7IYMc Detroit Youth Choir performs Macklemore and Ryan Lewis’s “Can’t Hold Us” on America’s Got Talent 2019 - https://www.youtube.com/watch?time_continue=268&v=TVqly9G2P9A Middle School Choir performs Silento’s “Watch Me (Whip/Nae Nae) - https://www.youtube.com/watch?time_continue=46&v=O6sPMBRO2d4 Suggested Readings Green, Lucy. "Popular Music Education in and for itself, and for ‘other’ Music: Current Research in the Classroom." International Journal of Music Education, vol. 24, no. 2, 2006, pp. 101-118. Access reading - https://bit.ly/366UW3B Abstract: This article considers some ways in which the school classroom enters into, changes and complicates musical meanings, focusing particularly on the role of popular music and how it relates to classical music. I suggest that in bringing popular music into the curriculum, educators have largely ignored the informal learning practices of popular musicians. Popular music has therefore been present as curriculum content, but its presence has only recently begun to affect our teaching strategies. I examine how the adaptation of some informal popular music learning practices for classroom use can positively affect pupils’ musical meanings and experiences. This applies not only to the sphere of popular music, but also to classical music and, by implication, other musics as well. Finally, the notions of musical autonomy, personal autonomy and musical authenticity in relation to musical meaning and informal learning practices within the classroom are discussed. Isbell, D., & Stanley, A.M. (2018). Code-switching musicians: An exploratory study. Music Education Research, 20(2), 145-162, DOI: 10.1080/14613808.2016.1238061 Access Reading - https://bit.ly/39pwNHV Abstract: There are populations of musicians who demonstrate considerable success- making music in formal school music ensembles and also in their own rock, digital, and ethnic groups in the larger musical community. We suggest helpful insights into the phenomenon of switching between various ways of being musical can be gleaned from the linguistic theory of code-switching. Although authors have identified a disconnect between the narrowly categorised music taught in schools and the wider variety of music in society, we have identified musical ‘code-switchers:’ people adept at navigating multiple musical worlds. The purpose of this study is to examine the experiences and perceptions of these musicians who have demonstrated skill and comfort switching between formal ensembles in a school of music and informal ensembles of multiple genres outside of the school and to examine the viability of using code-switching to better understand flexible, comprehensive musicianship. Participants indicated both musical and social skills as being responsible for their code-switching success. Mercado, E. M. (2019). Popular, informal, and vernacular music classrooms: A review of the literature. Update: Applications of Research in Music Education, 37(2), 30-37. doi:10.1177/8755123318784634 Access Reading - https://bit.ly/2ZvqfCQ Abstract: The purpose of this literature review is to examine research in popular, informal, nontraditional, out-of-school, and vernacular music education from 2012 to the present in order to concentrate on recent literature and make suggestions to inform current practice. Researchers have indicated that these classrooms can provide creative and collaborative opportunities and can help students connect with out-of-school music experiences. In addition, these classrooms seem to align with culturally relevant and student-centered pedagogies and an inclusive curriculum. In contrast, researchers have discussed a perceived dissonance concerning the validity and use of vernacular music in the classroom (i.e., the musical genres considered acceptable in the classroom and how they support or hinder the learning outcomes). Sieck, Stephen. Teaching with Respect: Inclusive Pedagogy for Choral Directors. Hal Lenoard, 2017. Purchase Book - https://amzn.to/356lpNq Book Description: This is a book for choral directors who find themselves in conversations they might not feel ready to have. Teaching with Respect prompts us to ask deeper questions about the language we use, about systems of power, about our heritage and inheritance. When we examine our teaching, we may find that, while we do not intentionally act with racism, sexism, or bigotry, we may be complicit in adopting systems and language that marginalize and discriminate. But since we want to be the kind of directors that foster artistic communities built on respect, we must be willing to ask such questions. And the burden cannot be on our singers who are being marginalized to teach us a more respectful path; it is on us to learn how it is that we are marginalizing. In this book we look closely at our teaching strategies. How does our repertoire and instruction intersect with our singers' identities, specifically their learning abilities, gender, sexuality, religion, ethnicity, and race? How do we engage with our audience? The book suggests an ethical approach to teaching choral music that is centered on respecting the singers in front of us. Readers will discover ways to maintain and elevate their artistic standards of excellence while also expanding their mindset. Four Chord Songs Database Link (https://bit.ly/2QpsvHL) Key Terms and Ideas Vernacular Music: Everyday, informal musical practices located outside the official arena of high culture—the conservatory, the concert hall, and the high church. Culturally Responsive Teaching: A pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Characteristics of informal popular music learning (Green, 2006) ● Learn by listening and copying recordings ● Learning in friendship groups with minimum adult guidance ● Allow learners to choose the music ● Learning in personal, often haphazard ways ● Integrating listening, playing, singing, improvising, and composing Safeguards ● Choir and World Music ○ In singing other people’s music, we aim to better understand their distinctive ideas, customs, and way of life ○ When we look at our choral repertoire choices, then it is essential that we are aware as aware as possible of the influence of viewing other cultures as ‘exotic’ or ‘other’ ○ To show respect for others, we must acknowledge that the certain thread of music from a community we may study is one of many that may exist in that community ● Cultural Relevance ○ A real world/school world disconnect remains in music education practice through curricular offerings, repertoire choices, and learning styles ● Culture Bearers ○ No one individual can represent and know everything there is to know about their culture and how others experience it .
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