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“THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T

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“THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2014 ABSTRACT “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse With the ambition of informing place consciousness in music education by better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings, the purpose of this research is to explore the sociocultural aspects of hip-hop musicians’ experiences in music education and music schooling. In particular, this study is informed by the following questions: 1. How do sociocultural contexts (particularly issues of race, space, place, and class) impact hip-hop musicians and their music? 2. What are hip-hop musicians’ perceptions of school and schooling? 3. Where, when, how, and with whom do hip-hop musicians develop and explore their musical skills and understandings? The use of an emergent design in this work allowed for the application of ethnographic techniques within the framework of a multiple case study. One case is an amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer. By placing Terrence and myself within our various contexts and exploring these contexts’ influences on our roles as hip-hop musicians, it is possible to understand better who we are, where and when our musical experiences exist(ed), and the complex relationships between our contexts, our experiences, and our perceptions. Employing both authenticity and identity as dynamic and performative concepts, findings demonstrate that these elements can have an important impact on musical experiences and perceptions. My history as a professional educator and Terrence’s perspective as a high school dropout offer a valuable contrast of beliefs, values, and assumptions about school and education. Exploring Terrence’s experiences with and perceptions of school provide additional material for placing him as a musician and learner and also allow for a critical investigation of my own perspectives. Recognizing my privileged and assumption-laden perspectives offers valuable layers of nuance toward better understanding the relationships between schools, those who school, and those who are schooled. In addition to exploring Terrence’s musical learning experiences, I participate in the study as a novice hip-hop beat producer under Terrence’s mentorship. Investigating our musical teaching and learning delivers compelling findings toward better understanding music education as it exists outside of school. The relationships between collaborators, the spaces in which they work, and the backgrounds that inform their perspectives all perform important roles in the development of applicable music skills in a practice far more complicated and demanding than I had initially imagined. Terrence’s experiences with and perceptions of music, school, and education challenge many of my preconceived notions and offer important considerations for music educators. My experiences as both researcher and case in this project reveal complex issues of privilege and provide opportunities to better understand and confront these issues. I ultimately contend that hip-hop cultures possess the potential for critical improvements in some school music settings and that music educators might consider making a place for hip-hop within scholarship and practice. Copyright by ADAM J. KRUSE 2014 For GMAK. v ACKNOWLEDGEMENTS I am forever indebted to “Terrence.” Without his unique qualities and willing attitude, this project would not have been possible. His selfless nature and patience for those who misunderstand him are a model for us all and a testament to his character. Regardless of title or degree, Terrence is one of the finest music educators with whom I have had the pleasure to learn. I am exceedingly grateful for his friendship. My advisor, Dr. Mitchell Robinson’s encouragement and open mind allowed me to create my own path, even when I was unsure what that meant or where that might lead. His support and mentorship mean the world to me, and I am so thankful to have had both. Dr. John Kratus provided invaluable council and has greatly impacted my professional life. Among so many other things, he taught me the positive power of subversive activity. Dr. Michael Largey always challenged and inspired my thinking. He gave me permission to be myself as a scholar and I never left his office without feeling less certain and more committed to my work. Dr. Cynthia Taggart’s combination of a critical mind and a supportive soul are precious gifts. Any work, or person, that crosses her path is better for the experience. This work and this person are no exception. I am also enormously grateful for my friends and colleagues, Anna and Stuart. Their contributions as peer reviewers played an important role in shaping this document. I consider myself lucky to know people who experience scholarship, education, and friendship so wholeheartedly and with such passion. Finally, I cannot adequately express the thanks I have for my wife, Michaela and daughter, Gloria. They have supported me in countless ways and have endured so much in doing so. They are my purpose and nothing less. vi TABLE OF CONTENTS INTRODUCTION—“THE JUNCTION” ...................................................................................... 1 CHAPTER 1—SCHOOL MUSIC: A PLACE FOR THE VERNACULAR? ............................... 7 School and Education ......................................................................................................... 7 Place Philosophy ................................................................................................................. 8 What is Place Philosophy? ...................................................................................... 9 Place Philosophy and Education ........................................................................... 10 Place Philosophy and Music Education ................................................................ 12 Vernacular Music Education ............................................................................................. 13 Interest in the Vernacular ...................................................................................... 14 Vernacular Music in School Settings: Re-Placing the Questions ......................... 15 Hip-Hop Cultures .............................................................................................................. 17 Hip-Hop Music ..................................................................................................... 17 Hip-Hop and Music Education ............................................................................. 19 Race and Music Education ................................................................................................ 21 The Nature Nurture of Race .................................................................................. 22 Race-Related Research Studies in Music Education ............................................ 23 Summary of past studies ........................................................................... 23 Limitations of past studies ........................................................................ 24 Moving Forward With Race-Related Research in Music Education .................... 25 Areas of research ....................................................................................... 25 Race as a tool ............................................................................................ 25 Race as experience .................................................................................... 25 Situating researchers, readers, and participants ........................................ 26 Complexity as a goal ................................................................................. 27 Recent Race-Related Research in Music Education ............................................. 27 Need for the Study ............................................................................................................ 28 Purpose and Problems ....................................................................................................... 28 CHAPTER 2—TOWARD HIP-HOP PEDAGOGIES FOR SCHOOL MUSIC SETTINGS ...... 30 Hip-Hop Pedagogies ......................................................................................................... 31 Pedagogies With Hip-Hop: Hip-Hop As A Bridge ............................................... 32 Pedagogies About Hip-Hop: Hip-Hop As A Lens ................................................ 35 Pedagogies Of Hip-Hop: Hip-Hop As Practice .................................................... 37 Limitations and Challenges ................................................................................... 40 Authenticity in Hip-Hop and Music Education ................................................................ 42 Performing Hip-Hop Authenticity ........................................................................ 43 Authenticity as performance ..................................................................... 43 Hip-hop authenticities and their challenges .............................................. 44 Glocalizing the ‘Hood ..........................................................................................
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