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The Routledge Research Companion to Popular

Gareth Dylan Smith, Zack Moir, Matt Brennan, Shara Rambarran, Phil Kirkman

Popular

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315613444.ch3 Rupert Till Published online on: 02 Feb 2017

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The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 14 has featur the music of popular music studies, solutions” and offers (Tagg, 2012, p. questions why researchers from toaddress non-musical backgroundsstillstruggle tional music thatpopularmusic are andart treated equally. He “also workingcologists inpopularmusic have tomake failed suchinroads intoconven- over the 30 gave akeynote speechdiscussinghow popularmusic studies(PMS)hasprogressed conference inSouth international Africa, IASPMfoundermemberPhilip Tagg and practices. and musical theories asitrelatesother existingPMEscholarship tobothcritical education. The volume you are develops complements and further thisand issue (Smith 2015). In2015, ofMusic theJournal Technology andEducation alsopublished aspecial onpopularmusic ineducation(Greenthe specialissueofIASPMJournal etal., Music Education(Rodriguez, 2004)(bothofwhichfocuslargelyontheUS)and music education (Oehler publications asthe special issue of the considerations; thisvolume attemptstoprovide both, building onsuchpioneering available featuring, forexample, casestudiesofbestpractice, orrelevant theoretical educational programmes andactivities, but relatively few relevant publications are Popular music of education(PME)isafast-developing fieldofstudyinterms Introduction (HEIs), numerous institutionshave begunto explore PMEfurther, music changing liferated recently around the world. From schools to institutions cational programmes that explore have popular music practice in particular pro- At the 2011 International At the2011International Association fortheStudyofPopular Music(IASPM) ed comparatively littlefocusoneithermusic-making orpedagogy. Edu-

year & Po A stepintothelight Till Rupert Popular musiceducation s since the organizationwas founded. He concluded that musi- well, 2015), in popular music ontechnology andperformance

& Hanley , 2009), the Gap: Bridging Popular Music and Journal of Popular Music Studies on popular Journal A stepintothelight Rupert Till

3). PMS 3 Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 music, dependingonwhosedatayou use(Till, 2013, pp. music makes uponly3.5%ofrecorded music andbetween 1%and16%oflive of recorded music and74%ormore oflive music, whereas thegenre ofclassical ofmusical activity,is despitepopular music making up themajority perhaps 90% activity (Williamslar music asafringe mance andcompositionhave frequently shown epistemicinertia, sideliningpopu- notable exceptions, suchasScandinavia) institutionsfocusedonmusic perfor- orculturalstudiesapproacheslogical tothesubject, (with but inmany countries Music(WEAM). Art education provision, whichwas inmany casesdominatedby Western European 1 thesituationin (2013) describes Australia andNew Zealand, where prominent tothriveafforded (Clarke, PMEtheopportunity 2005). For example, Bendrups highly inconsistentinternationally. Inanumber ofcasessomethingspecifichas andcascadingoutwards.with more rapidexpansionoccurring This situationis years developments indicatethatatippingpointhasbeenreached (Kratus, 2007), inanincreasing number ofcountries, toflourish PME isbeginning andin recent PME aroundtheworld that reflect onthediscussionabove. emic discussionofsomemy own PMEactivities before presenting conclusions in abookchapter, andsothisfocusesonrecent material. Itthenmoves ontoan of key relevant publications. It is not possible to cover every relevant publication PME internationally, focusinglargelyonHEprovision anddiscussingaselection ship between thetwo. This chapterpresents anoverview stateof ofthecurrent chapter These are somewhat separatefieldscurrently there hasexistedaseparationbetween PMSandthemore poietic-focusedPME. developing afocusoncritical, ormediastudiesapproaches. sociological As aresult Initial exclusionfrom intheUK, music departments forinstance, ledtoPMS a result thepoieticprocesses (Nattiez, 1990, p. onthestudyofpopularmusic ,primarily ratherthanpopularmusic itself; as been an important part ofPMSfrom(andviceversa part itsbeginning been animportant PME, otherpopularmusic research andPMS, are unhelpful. PME shouldhave musicology, andPMEsomewhat excludedfrom PMS. divisions between Historic onlyslowly popularmusic over begantointegrate thelast30 tion. incommunity settings, Musiccurricula schools, colleges, conservatoires and to popularmusic, andhowthem, toteach andlearn have lacked substantialatten-

strongly represented. ine Jenkins, Russell Watson, Lesley Garrett, Rolando Villazon, The Priests, and Hans Zimmer is genre This relates to UKrecordings. Ofthe3.5% of recordings thatare labelled as withintheclassical The studyofpopularmusic inroads hasmadegreater where itexplores socio- , 1%isaccountedforby André Rieu, sungby thelikes andpopularmaterial ofKather -

13, thisv olume), andthisbookgoessomeway torebalance therelation-

& Randles, chapter

– PMSissomewhat excludedfr

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6–8).

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year om 15 s.

Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 defining characteristic of much contemporary popular of music (Attali,much contemporary defining characteristic 1985, 2001; addressed asarecorded medium, asone inwhichthetextliesrecording, a nominally want careersaspopularmusic performers, topursue popularmusic is practice. we willsee, thisapproach emergesfrom anumber ofsources assuggested good to teachingandlearning, isfittingforsuchapopularcultural . As ently structured, extentontheopinionsofaudiences dependingtoagreater still has canon(Smith, 2014)andelite figures, popular music is somewhat differ- inPME,practices issometimesappropriate but notalways. Although itarguably stratification thanthemselves, from aneliteofgatekeepers. basedonsuch have the system precisely andaccuratelyfrom upthismusical tolearn thosefurther rect musical behaviour. Itthusadoptsamaster/pupilapproach inwhichstudents such dominantfigures, ahighlyspecificcodificationofcor- inorder toperpetuate inadoptingtheaestheticvalues espousedby andmusical parameters ters’ such asBach, Beethoven, Wagner andStockhausen. WEAM educationschools whofocusuponacanonof of performers, andcomposers conductors mas- ‘great archy ofhighlytrained, specialized andeliteprofessionals, withastratifiedsystem be basedon WEAM traditionsandculture (Parkinson from existingmusic principles education,with adoptingpedagogical whichmay outsideofinstitutionalcontexts(Green,learn 2001, 2008, 2014). This contrasts ment. The programme useseducationalmethodsthatechohow popularmusicians experience, asare assess- self-directed andcollaborative andparticipatory practices.industry A tralia, andhow approaches totheprogramme are drawn from popularmusic ’sMusic programme atGriffith in QueenslandConservatorium Aus- of themosthighlydeveloped PME practicesare in Australia andNew Zealand. PME seemnotonlyhealthy but alsoapossible modelapproach. some Certainly with suchaperspective inmind, thelinksbetween , PMSand .porary Indeed, itispossible tocastPMSasasubsetofethnomusicology; to view it as being like an ethnomusicology of industrial, commercial or contem- inspired byand learning popularmusic culture. Oneway PMSis ofunderstanding inspired approachgraphically hasallowed toexplore educators modesofteaching approachesate pedagogical have alsobeenexplored forthiscurriculum. An ethno- inallsectors.which have established withincurriculum becomefirmly - Appropri This focusonethnomusicology toPMSandPME, hasafforded opportunities tion culture, tyingintonationaldebatesaddressing issuesofculture andidentity. cal cultures, andethnomusicology of music educa- hasbecomeasignificantpart streams of ethnomusicological studyhave musi- focused on and Maori Aboriginal Rupert Till 16 b accepted behaviour (Jones, 2008; Kassabian, 2010). A the many Randles, chapter y Lebler and Weston, anddemocratizedapproaches witharangeofparticipatory A key characteristic of the Griffith programme is that,A key of the Griffith characteristic although the students As Bennett(chapter Lebler and Weston BachelorofPopular theundergraduate (2015)describe , ratherthanthefew

5, thisv

student-run r student-run

23, thisv olume).

– and with a history ofappr – andwithahistory olume) discusses, WEAM involves atiered hier- ecord label is an important part of the learning of the learning ecordpart label is an important

system such as that described system suchasthatdescribed

& Smith, 2015; eciating divergence from Williams

– of

& Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 chapter to remain (Morrow current et al., chapter partners, ships withexternal andregularly updatethecurriculum stay relevant developments, andindustry totechnological staffmaintainrelation- CollegeofMusic,Music inKuala Lumpur(International 2016). Salford, 2015), andtheBA Collegeof inProfessional MusicattheInternational lar MusicandRecording attheUniversity ofSalford intheUK(University of popular music programme, undergraduate such asthefirst the BA (hons)in Popu- marking orprogramme content(seealsoFleet, chapter varied, requirements, withnoconsensus aboutentry qualities, graduate bench- as well asmore linkswiththemusic industry. Programmes are foundto behighly in thefield, ofgoodpractice, fornetworking more opportunities andthesharing number of needs within the sector, working for calling educators for more support three. They foundPMEtobe “doubly new” (p. Education Academy (HEA). They foundPMEin47UKHEIs, around onein examined UKPMEprovision, onresearch reporting commissioned by theHigher ence (seealsoNiknafs cal approach, allowing to - and own students to contribute the educational experi classactivities,body ofstudentknowledge toenrich - democratizingthepedagogi they are ablesongwriting. todraw whenexploring Teaching staffdraw uponthis standing aswell asadeeplyembeddedlevel ofassociatedcontext, upon which of in-depthknowledge ofthesubject, andmany have implicitlevels ofunder- intotheclassroom. ofsongwriting of experiences Somestudents have deal agreat room. Itdiscussesthree separate institutions, arange how studentsbring exploring explores ‘presage’, withthemtotheclass - theknowledge andskillsstudentsbring Australia, classes. focusingspecificallyoncomposition/songwriting Theirstudy 2015). BlomandPoole student-lededucationalcultures in (2015)alsodescribe necessity of embedding the use of technology within pedagogy (Moir tive fields, reflecting otherpublications by Lebler (2006, 2007), emphasizingthe recording. thesetwo- elementsasmutually Hedescribes dependentandinforma as Lebler and Weston, and discussingthedetailofapproaches toperformance acquisition ofskillsandabilities(Jones, chapter cational development, between knowledge encouraging and understanding, and element ofprovision. A terclasses andworkshops taughtby professionals music industry isanimportant ter music asastandard technology core isintegrated skill(Lebler Cutler, 1984, p. ‘new’ tousethe term institutionsthatwere permission ‘university’ granted after often lessthan20 than 30

Another characteristic evident at Griffith (andelsewhere) evident isthatinorder atGriffith to Another characteristic The situationissomewhat different intheUK. CloonanandHulstedt(2013) Anthony (2015)addresses theuseofmusic technology onthesameprogramme In the UK, there is a divide between older research-intensive universities and 22, thisv

22, thisv year olume). This isafeature ofmany otherexistingPMEprogrammes, s old, andtobetaughtpredominantly innew institutionsthatare

9; Fr olume).

year ith, 1996, p. s old, many withlittleornoresearch culture. They identify a

& Przybylski,

balance is struck betw balance isstruck

15). chapter As aresult, studyrelated torecording and

26,

32, thisv this volume). The inclusion of mas-

27, thisv 5): tobeane een industrial trainingandedu- een industrial olume).

14, this v olume; Lebler w subjectthatisless A stepintothelight

& Hodges, chap olume).

& Medbøe, & Hodges, 17 -

Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 ar board Edexcel’s level 3(GCE A performance,integrate composition and analysis. For example, UK examination lar music, jazzandfilm music alongside WEAM(Winterson cational theory. have Increasingly included schoolcurricula ‘’, popu - areas shouldbesynthesizedandinteg musical,a practicallyorientated vocational approach ortechnological best practicefeatures interactionbetween approach aresearch-focused and critical studies shouldbeatthecentre ofPME. Their research theconclusionthat supports questions aboutthenature ofPMS, aboutwhethercritical, vocational ormusical terson funding changes, aswell asanincreased focusonpopularmusic inschools(Win- in haveWEAM-focused music departments decreased and due to demographic addressing popularmusic inorder more torecruit students, asapplicationnumbers (Jones, chapter into teachingmethodologies. high staff-studentratiosandheavy teachingloads, providing littletime for research Music Education(HPME)institutionsoftenhave todealwithlargegroupssizes, is taught and learned. Popular music staffinteaching-intensive HigherPopular ofwhatistaught,with strong contentinterms inhowthatcontent but lessrigour oftutors,Programmes andteachingtendtobebasedontheindividual experiences tions. Indeed, many staffhave ratherthanacademicbackgrounds. music industry reflection onpractice, andmay have no qualifica- research trainingorpostgraduate institutions, wheremay practitioners forresearch-led beafforded littleopportunity best practice in PME pedagogy is perhaps due to a theoretical vacuum in new programmes,tured PMEdegree thefirst itslackofconsensusordebateabout ing strong vocational content(Parkinson focused in the latter (hence the lack of research focus identified above), featur- focuseduponandfundedby1992 andwhichareteaching. principally PMEis Rupert Till 18 2

ranged to (pre-1992) universities (http://www.thecompleteuniversityguide.co.uk). new universities, and none of the30 UK universities with the worst staff-student ratios are old Complete University Guide, none ofthe30UKuniversities withthebest staff-studentratiosare teaching contactperw Teaching inaCollegeofFur hasinvolvedMy own experience regularly teachingPMStoclassesinsizesof60120students. UK schooleducationiscloselyregulated, by up-to-dateedu- andisenriched UK music educationinuniversities ischanging, duetomarket partly forces performance. Notatedand/orimprovised may besubmitted. performances and/orvoice(s)instrument(s) are ofafive-six acceptable aspart minute assessed of anensemble. andstudentscanchoosemusic inany style. Any assoloistsand/orpart allow toperform studentstheopportunities

& Russ,

2009). Cloonan and Hulstedt (2013, pp. 27, thisv eek, compared to14 olume; Smith, 2015). Increasingly, olderuniversities are ther andHigher Education I 2

lev el aimedat16–18 rated.

hours inar hours

& Smith, 2015). esearch-active university. According tothe

regularly

76–77) ask highly

year olds)qualificationis Although theUKfea- had 24

& Russ, 2009),

(Edexcel, 2004) hours ofstudent hours

– thatthese pertinent pertinent and Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 how by popularmusicians copying learn others. Indeed, thisissomethingthat together isgoodpracticewithinPME. referstoGreenAhlers (2001)exploring concept ofstylecopies. learning andinformal Hesuggeststhattheuseofformal knowledge andmeaning, andtheinfluenceofstudyuponstudied), andthe HE, understanding,German helix(exploring drawing upon thehermeneutical ofpopularmusic.forms into mainstream curricula, forother subsequently affording similar opportunities inthe1970s.cation inGermany music, Linked toexperimental jazzwas absorbed existence of these programmes was made possible by the development of edu- qualified staff, withmore postsheld seniorandprestigious by WEAMscholars. The He explainsthatsuchprogrammes are orrecently typicallytaughtby postgraduates development ofPME. Pfleiderer (2011, Martin p. cal approaches andfieldsofstudy. music many andethnomusicology commongoals, sharing interests,- methodologi than the WEAM thatdominatedpreviously. This was enabled by further popular environment itwas increasingly possible tofocusuponmusic from Ghanarather aged and developed by a growing sense of postcolonial national identity, in which programmes spread anddeveloped from thelate1980s on. They were encour- in Ghanaemergedfrom afocuson popularmusic andperformance.African These PME asbeingafforded by ethnomusicological developments. PMEprogrammes Ghana. As withprovision in Australia andNew Zealand, Ghanaian Collinsdescribes inconsistent, withlittlediscussionoralignmentofbestpractice. options within such . As one can see, PME in the UK is somewhat composition, andrecording. performance Teachers canchoosetoselect classical considerations withinproject-based activities, whichcanincludereading, analysis, educationsectornow practicalandtheoreticalUK schoolandfurther integrates ofUKschools’PME ispart music education. Inaddition, music teachinginthe that thisisanexampleofJamaican popularmusic” (Edexcel, 2007, p. the stylisticfeatures of ‘You cangetitifyou really want’ by Jimmy Cliffthatshow sectionof anEdexcelsampleexaminationpaperis cal Understanding “Describe Howlin’ Wolf, The KinksandOasis. An essay questionintheDeveloping Musi- Bernstein, Goldsmith, Pheloung, Jerry Barrington MilesDavis, RamNarayan, ogy ofMusic(Winterson, 2008), whichincludesworks by Bach, Beethoven, Cage, of theassessment. andanalyticalstudyisbasedontheEdexcelAnthol- Historical Any pieceofpopular(orother)music canbeperformed, andthisaccountsfor15% Michael (2015)providesAhlers anevaluation offive ofteachingin years countries, andsomeneighbouring itwasIn Germany jazzthatafforded the John Collins(2011)hasdiscussedthedevelopment ofPMEinuniversities in [By] populäre Musik. filed under courses university) offers and music high school(Musikhochschule provided by musicology andmusic . pedagogy departments offered by university programs inGermany, andSwitzerland,Austria mostly winter 2010/11 almost 200 courses concerning popular music were concerning winter 2010/11 almost 200 courses

45) writes: A stepintothelight

.

. almoste

21). Clearly very 19 , Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 PMS has a long history (Krikun,PMS hasalonghistory chapter 2012). tioned above, issomething Tagg hasbeencallingforover thelast30 for popularmusic researchers from aculturalstudiesbackground, but, asmen- musicological analysis, andlanguage. fromThis isafar simpleissue approach requires popularmusic educationaliststobecomewell acquaintedwith between the two, and practice. together as a way theory of bringing Such an based explorations of popular music. He suggests musicological analysis as a bridge legacy of Adorno, aswell asrecent developments synthesizingdidacticandaction- approaches topopularmusic. andpost-critical cussing critical Headdresses the methodology.a trans-disciplinary the result, sothatthey enhanceoneanother, mixingpracticeandtheory adopting elementinwhichstudentscreatecourse astylecopy andsubsequentlyanalyze research thatexplores how suchprogrammes shouldbetaught. a Hedescribes a proliferation ofprogrammes inpopularmusic inGermany, there isalackof practice-based research (Smith exercise, of but there islittleevidenceofthisasaform ofanunderstanding ausefulcompositional iscertainly songsbasedonthemusic ofothers Writing in WEAM forpopularmusicians, thelanguageofmusic. helpingthemlearn ies (alsoknown ascovers), have oftenbeentheequivalent ofscalesandexercises by copying thework oreven (Till, ofothers plagiarizing 2007). Stylecop- Beatles, theRollingStones, theBeachBoys, towrite learning Oasisandothers happens (andhappened)frequently inpopularmusic culture, suchasthe artists Rupert Till 20 approaches,and informal drawing onmusic educationandethnomusicological between PMEin, forexample, theUS, theUKand Australia. They explore formal (do-it-yourself) andDIWO approaches, (do-it-with-others) andthedifferences both ofwhichare core toPopular MusicStudies. long beenagulfbetween Popular MusicResearch and Popular MusicEducation, Society for Music Education and the research-focused IASPM. There has for too association,internationalized perhapsthrough collaboration withtheInternational rate andshare practice. scopeforthistobecomeamoreThere widely iscertainly provides forrepresentatives aforum ofdifferent PMEorganizationstocollabo- descr and SchoolofRock, whichexistsin 31states. Furthermore, Powell et developed by (arock curriculum Steven Story American Van Zandt); Rock Alliance inOregon; The Travelling GuitarFoundation; Rock andRoll: An Kids Rock/AmpUpinNew York Cityandbeyond; MusicFor Everyone; Girls by Powelldescribed et Hanley ofPopularMusicStudiesonpopularmusic education(Oehler issue ofJournal largely onpolicydevelopment in US schools, inaspecial andmostofthepapers on popular music education(Rodriguez,collection of chapters 2004) focused PME islesswell-established intheUSthanmany countries, althoughUS Like Ahlers, PME, Jost relationship (2015)explores inGerman abinary dis- Przybylski andNiknafs(2015)alsodiscussPMEinthe US, addressing DIY ibe theUS-based Association forPopular MusicEducation(APME), which , 2009) were also focused on the US. A

al. (2015),

& Shafighian, 2013). includingMusicMakes UsinNashville; Little

4, thisv

proliferation of ne olume). As mentionedabove, one suggests that despite Ahlers w programmes is

year

al. (2015) s (Tagg,

& Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 engage withlocalpopularmusic communities of practice(Lave and theideaofconnectingPME withtheworld outsidetheclassroom inorder to actualization andself-transcendence. Again thisresearch references Green (2001), theindividual, andinforming whole selves asameansbothofforming andofself- ity. They to engage bodily with music, focus on allowing learners their engaging addresses thewholeperson, aswell asvalues thatreach beyond- mere instrumental powerful andFrancisalsosuggestthatPMEisparticularly Dairianathan whenit ity, gender, sexualityor religion/philosophy (Parkinson, chapter of teachingaclichédculturalpackagewhenaddressing subjectssuchaslocal- thatreaches outacrosslearning theworld. This research pointsoutthedangers embraces globalpractices, addresses globalandlocalsoundscapes, andencourages another culture. techniqueinawayThey explore consolidatingperformance that perspective, andnot, forexample, US-orUK-basedmusical qualitiesto ascribing developments inSingapore, alocal ofunderstanding addressing theimportance before PMEisafforded equalstatusinalleducationalcontexts. forrecognitionstruggling andfunding. Itisclearthatthere isalongway togo forcing ittobeanedge-dweller, ofeducationalspaces, navigating theperipheries remainhow unavailable andopportunities facilities themostprestigious to PME, Aires, Argentina. As isthecaseformany popularmusic programmes, thisillustrates schoolofmúsicapopularinBuenos astate-run a studyofthepoliticssurrounding ica, development processes are problematic. (2015) illustrates this through O’Brien for arigorous, theoretically mature approach. pedagogical other of spaceforexperimentation, by aswell educators asstudents(seealsoNiknafs oftheoretical andpracticalapproaches.gration They emphasizetheimportance withinandoutsidetheinstitution,gest includingexperiences aswell astheinte- education, andModirzadeh’s Barreto studyhaswiderrelevance. sug- The authors is citedasakey problem forPMEinBrazil. Although thefocushere isonjazz musical communities withineducationalinstitutionssuchasuniversitiesexternal low andwhichtobreak inorder toachieve success. The lackofaconnectionto (2015),rules tofol- they discussthedifficultyinherentwhich inunderstanding andmaintainsasenseofauthenticity.is original Muchasinthework of Ahlers ity toculture, contextandexistingmusical frameworks withmusic-making that to establish the content of curriculum. They address issuesof balancing sensitiv- tofind areresourceseducators struggling modelstouseinorder andpedagogical programmes in popular music are proliferating rapidly. Unlike in the US, Brazilian andpeerteaching. peer learning theories, focusingonimprovisation andcomposition, aswell asautonomy, play, a casestudyrelated tojazzguitartuitioninSpain. They address issuesoflearner research, andthework ofCasas-MasandIgnacioMontero (2015), whoexplore beyond theinstitution. andFrancis’ Guitartuition is thefocusofDairianathan Przybylski, Dairianathan andFrancis(2015)discusssimilarissues.Dairianathan They explore PME Although PMEprogrammes are proliferating andSouth inbothNorth Amer- new developments andModirzadeh(2015) describe Barreto inBrazil, where

– theneedforfreedom toexper chapter

32, thisv olume). Again two conflictingneedspull against one iment withnew approaches, andtheneed A stepintothelight

& W 30, thisv enger, 1991) olume).

21 & Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 lear training andtraditionaleducationalapproaches drawn from WEAM culture. autonomy, aswell asdichotomiesrelated tothecompetingrequirements ofear-led Rupert Till 22 I technological, oraland auralapproaches (seealsoFleet, chapter mized requirements tousescores ortraditionalmusic theory, instead emphasizing etal.,also Sharples 2012). a student-focusedapproach similar to thatof Green (2008)orLebler (2007)(see choose theiro teach the use of music software toolslike Apple’s Pro. Logic I (Sanford etal.,rhizomatic learning 2011)approaches, to suchasonlinetutorials duction, much like Lebler and Weston University (2015)atGriffith pally arecorded medium, routinely mixingmusic technology, recording andpro- (2007) andKleiman(2007). I provided inadvance. Suchapproaches are similartothosediscussedby Lebler online andsometimesaudio-filefeedback,grading provided following atimetable projects.recording orperformance Mostassignmentsare submittedonline, with peer assessmentandself-assessment, especiallyinself-directed groupwork, suchas and theresearch sources involved. I self-reflection as nying thatincludescritical report well asdiscussionofaesthetics final-year project istocomposeandproduce anEPof music, withanaccompa- practical music-making, work andself-directed written learning. For example, a the music industry. andcomplexityofrelationships betweendiscuss therichness highereducationand representatives.music industry Part IVofthisbookcontainsseveral that chapters arangeofconcerts,and studentsexperience talks and masterclassesfrom visiting created music-based business plans; an optional year has been available; in industry suchasticketservices sales, marketing andtechnicalproduction; studentshave mance studentshave public , performed andprovided theirown backstage released theircompositions/productions oniTunes, Spotifyand ; perfor- lar approaches tothosediscussedby Lebler and Weston (2015); my studentshave as asoundengineer, producer, composerandperformer, andhave adoptedsimi- (2013) tice. I Despite this, anumber approaches ofpedagogical are evident inmy teachingprac- inPME(Mantie,of alackestablished modelsofteachingandlearning 2013). orothertheories, ratherthanhermeneutical inthecontext experience industry My own approaches initialpedagogical (from 1993)developed from insidermusic An emicperspective formal learning approach, learning formal asdiscussedby Mok(2010), Smith(2013)andPowell that focusedonpracticeratherthanresearch); I

hav In teaching poietic subjects such as performance andcomposition,In teachingpoieticsubjectssuch asperformance I Most oftheassignmentsI ning approach (Chew etal., 2008). I e run gospel withupto100 participants, gospel choirs e run teachingsongsorally: anon-

am typicalofthenew contextofPMEdiscussedb

– my m wn groups, musical genres, musical contentandassessmentcriteria, usic degree wasusic degree from a ‘new’ university (a polytechnic programme

set are pr hav e always conceived- ofpopularmusic asprinci

hav oject-based, usuallyinvolving amixture of e used participatory assessment,e usedparticipatory including

use flippedclassroom (Stra

hav e a music-industry background e amusic-industry y CloonanandHulstedt

allow studentsto 14, this v yer, 2012)and

– ablended

hav olume). e mini- Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 learning and assessment. learning to develop PMEprogrammes with increasingly sophisticatedmethods inteaching, easier in the future approaches, decisions about pedagogical to make informed and cational research. This volume takes stepstowards addressing this, andwillmake it somewhat uncritically, studyorgrounding inedu- lackingthecontextofrigorous the last30ormore years within PMEpractice, but have beenusedinthepast Var valuable (p. on pedagogy. ofutilityandefficacy” He findsthatUKPMEprioritizes “matters do” do ratherthanwhatteachers jects (Gaunt put intopracticethemethodsofspecificproducers. I (EDM) as exercises; and recording classes have required students to research and ogy classes, students accurately reproduce sections of electronic short dance music collaboratively new material in thesamegenre;on to writing in music technol- an existinghitsong; withstylecopies, begins groupperformance before moving recording. Oneassignmentrequires to studentstoaddanew melodyand my teaching, included within composition, performance, music production and (Partti ulum uptodate, andgives activities studentsasenseofownership inthelearning ject we theminseminars. are studyingonlineoroffering - This helpstokeep curric and Facebookgroupsfeature inmy classes, studentspostingexamplesofthesub- 2007; Rinaldo, 2004). inblogs, Presentations andparticipation discussionboards uniquely onadevelopmental, master/discipleapproach (Fosnot, 2005; Morford, and Poole, 2015. I settings(Howell,in informal/non-formal 2011; Veblen, 2007). and takeSuch projectswiththeneedsandinterests oftheparticipants place begin with children excludedfrom conventional schoolingduetobehavioural problems. skills workshops in housing estates in deprived areas; and rap production projects (chapter and Burstein cal forthoseteachingpopularm texts.or responding tospecificwritten Mantie(2013, p. to w

334), andobser Style copiessuchasthosediscussedby (2015)haveAhlers always featured in I value presage Such projects , usedarangeofpedagogical but notconsciously ious approaches discussed inthisbook(my own amongthem)emergedover ork collaboratively, introducing, forexample, collaborative compositionpro- toire orteachers. function oftheeducationalencounter, notanimmutable property ofreper- about ter bring “quality learning” ofstudents. onthepart That is, qualityisa andhow canbet- teachers appeartofocusonstudentexperiences discourses The fundamentaldifference I

& W when teaching outside of HEIs, in, for example, community choirs; DJ esterlund, 2012).

& W esterlund, 2013).

ves:

have – theexistingknowledge ofstudents,

20, thisvolume). I integrated constructivist approaches, constructivist integrated rather than focusing usic intheUKto “focus more onwhatstudents

– oncontentandpopularmusic

detected in the corpus isthatnon-Amer detected inthecorpus

have foundsuchapproaches particularly

routinely encouragestudents

344) notesthatitistypi- asdiscussedby Blom A stepintothelight , ratherthan (p.

344) ican 23 Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 Cloonan (2005, p. Stålhammar (2006), Väkevä (2013), and Westerlund (2003). example, Folkestad (2006), Karlsen(2010, 2011), Partti and Westerlund (2012), ofschool-agelearning, leadtheway,terms asevidenced by, for influential(2006,Lebler being particularly 2007; Lebler and Weston, 2015). In institutions are sophisticated, perhapsthemost pedagogically thepublications of examples of transferable best practices in PME. of PMHE, Interms Australian approaches. Universities may needtolookhow music istaughtinschoolsfor inspected thaninHEIs, andthissector hasconsciouslyadoptednew pedagogical ingly. intheUK, Inschool-agelearning teachingmethodsare more regulated and andformats. be expectedtoreplace lectures andexamsasdominantPMEforms blogs, onlinevideolectures, classrooms virtual orsoftware educationaltoolsmight assessment. techniques, Usingthesepedagogical coursework, group projects, wikis, classroom, student-directed learning, collaborative andparticipatory learning etal., (Sharples learning 2012). These approaches includemethodssuchasflipped (Chew etal., 2008), seamlesslearning, enquiry andpersonal rhizomaticlearning of relevant includeblended methodologies learning pedagogical contemporary ticularly well (Christophersen approachespedagogical grounded in a democratized perspective fitPME par- Conclusions Rupert Till 24 circumstances, akin to what Smith (2013, p. isrequired, methodologies learning andinformal mix offormal chosentofitthe musical traditionsfromformal around theworld. As thelevel ofstudyadvances, a from existingmusicalPME tolearn pedagogy, includingthatof WEAM andother have already undertaken a range of tuition or other learning. There is much for gies, institutionalcontextswhere learners especiallyinHPME and otherformal methodolo- learning it clearthatshethoughtthere was aplaceforformal certainly approach inallsituations. Indeed, I schools, but has notsuggestedinherpublications that thisshouldbetheprincipal isusedinPMEandcanbeeffectively learning adaptedforapplicationin informal of thefirst student bodyconcerned. tobeadaptedthespecificpopular music cultures ofthe teaching andlearning hugelyinnational,differs andlocalcontexts, regional andsuchmethodsallow WEAM orotherexistingeducationalmodels. Popular music is highlydiverse, and evolved from popularmusic, from adoptingmethodologies ratherthanuncritically approaches isthatofbasingpedagogical onspecificallytailoredparticular methods my own PMEexperiences. Indoingso, anumber ofkey issuesemerge. Onein of educationalactivities andrelevant theoretical perspectives, andrelating someof focused on highereducation contexts,countries, primarily presenting case studies I have toprovide tried anoverview ofrecent PMEdevelopments inanumber of PME programmes cover anumber ofareas, whichare discrete but interrelated. areSuch methodologies quitecommoninPME, but are notalways usedknow- Popular music isdefined by theopinionsofmany, ratherthanthefew, and The research ofLucyGreen (2001, 2008)isclearlyakey influence, and was one

– andmostinfluential

83) categorizes these asm 83) categorizes

& Gullberg, chapter

– in-depthPMEstudies. Gr

specifically ask

26) has ter usical (including compositionand ed heraboutthis, andshemade

33, thisv med learning”. “hybridized een describes how een describes olume). Examples Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 only benefitfrom PMEand relevant becoming more scholarship widespread and point.starting Popular music (andindeedsocietyandculture more generally) can cal research inPME, but thisbookprovides andauseful contribution animportant overdue. qualitative,There isclearlyaneed forfurther quantitative andphilosophi- underscore thesignificanceof this volume. isundergoinghuge changes atpresent,industry andthesewiderdevelopments tized andchangedirrevocably mediationanddistribution. by digital The music music are increasingly available tothemany, ratherthanthefew, bothdemocra- extent, asonlysomany educationalresources are available. Botheducationand development ofmusic tosome willinevitably forms beattheexpenseofhighart thatreflect approaches. arangeofpedagogical curricula ofthefieldsothatitincludesincreasingly considered programmesa maturing and of PME, andwillhopefullyleadnot justtoaproliferation ofactivities, but alsoto frameworks andconceptualization. developments Current markacomingofage popularmusic by bylearning presenting PMEcasestudiessupported theoretical toexplorehopefully assisteducators arangeofrelevant approaches toteachingand or even nationalco-operation. Alongside otherrecent publications, thisbookwill been well-researched ortheorized, norhasitinvolved dealofinternational agreat theory.can onlybenefitfrom discussion ofpedagogical further PMEhasnot always educational contexts. nordiversity, PMErequires uniformity neithergreater but successful, suggestingthattheseareas shouldbesynthesizedratherthanseparated. musical,cally orientated vocational approach, orindeedtechnological hasbeen practised, interactionbetween approach aresearch-focused andapracti- critical multi/cross-disciplinarity, forPMEasawhole. isimportant Where ithasbeen ful andwell-developed PMEprogrammes. Inter-professionalism, alongsideinter/ culture, suchasweb design, recording socialmediaetiquetteordigital techniques. no more (and perhaps less) significancethan elements thatare centred onpopular andknowledgetheory ofcanonicalworks are allusefulwithinPME, they are of used fordisseminationandreception ofmusic. Although scores, notation, usedby DJsandproducers, tothesocialmedia, andtablets smartphones today makes extensive technologies, useofthelatestdigital from thecomputer nological; scales, notation, pianosandscores are all technologies. Popular music ties they necessitateseparation. fit adequately within either category, and involve such a significant range of activi- vocational, or, within musical studies, as production; however, the activities do not ing, programming andweb applications. as couldbedescribed This finalcategory work includesrecording, production, live sound, andcomputermusic-mak- digital I (includingculturalstudiesandanalysis).(including music business) andcritical performance, revised to “practical” inCloonanandHulsteadt, 2013), vocational

would r The appearanceofpublications focusedonPMEisnotmerely timelybut long There isapoliticaldimensionto thedevelopment ofPME, especiallyassuch There approach is nosinglepedagogical to allculturaland that isappropriate isafeatureEngagement withthemusic ofmany industry ofthemostsuccess- The useoftechnology inPMEisacore focusorsetofskills. All music istech- ecommend adding a fourth category to the model: category ecommend adding a fourth ‘technical’. Technical A stepintothelight 25 Downloaded By: 10.3.98.104 At: 04:30 29 Sep 2021; For: 9781315613444, chapter3, 10.4324/9781315613444.ch3 will be beneficial both in countries thathav will bebeneficialbothincountries music education. practice, andpopular whichwillimmenselybenefitbothpopular music educators ning ofalarger, longerconversation, astepinthe development ofacommunity of where itsdevelopment isnew. Itisintendedthatthisvolume- willbethebegin better developed. The research I Rupert Till 26 Ahlers, M. (2015). Openingminds References Anthon Blom, D. Bendrups, D. (2013). Popular music studiesandethnomusicology in Australasia. IASPM Barreto, A.C. Attali, J. (2001). Bruits: Essai sur l’ économie politique de la musique. Paris: Presses Universitaires Attali, J. (1985). Noise: The politicaleconomy ofmusic. Minneapolis: University ofMinnesota Chew, E., Jones, N. Cloonan, M. (2005). ofMusicEducation, Journal What is popular music studies? British Clarke, E. (2005). Ways oflistening: totheperceptionofmusical meaning.An ecologicalapproach Casas-Mas, A. Cloonan, M. Edexcel. (2007).. Sampleassessmentmaterials Retrieved from: http://qualifications.pearson. Edexcel. (2004). Specification: GCE music. Retrieved from: http://qualifications.pearson. Dairianathan, E. Cutler, C. (1984). Fileunderpopular: onmusic. writings London:Theoretical andcritical Novem - Collins, J. (2011). The introduction toGhanaianuniversities. ofpopularmusic courses 181–194. , 3(2),Journal 48–62. Doi: 10.5429/2079–3871(2013)v3i2.4en education., 5(2), IASPMJournal 23–35. de France. Press. of live recording production., 5(2), IASPMJournal 139–156. structivo)., 5 (2), IASPMJournal 54–80. dejazzsemi-profesional:de unguitarrista estudiodecasoaprendizaje musical con- Oxford: Oxford University Press. Notes inComputerScience,5169 40–53. on Maglow’s and Vygotsky’s educational theory. and Education: Learning Hybrid Lecture totheclassroom. studentsbring songwriting , 5(2), IASPMJournal 157–180. 77–93. jazz guitarist: A assessments/sam-gce2008-Music.pdf com/content/dam/pdf/A%20Level/Music/2013/Specification%20and%20sample%20 assessments/UA035245_GCE_Lin_Music_Issue_5.pdf com/content/dam/pdf/A%20Level/Music/2013/Specification%20and%20sample%20 inhighereducationSingapore.trainee teachers , 5(2), IASPMJournal 81–99. ofpopular music-making amongmusic education observations of teachingandlearning ber Books. , 2(1–2),IASPM Journal 34–44. Doi: 10.5429/2079–3871(2011)v2i1–2.4en music intheUK. studiesdegrees , 3(2), IASPMJournal 63–77. Doi: 10.5429/620. y, B. (2015). Creative conceptualisation: creative Nurturing practicethrough the

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