A Comparison of “Popular Music Pedagogy” Discourses

Mantie, Roger

doi:10.1177/0022429413497235

Cited by 48 publications

(50 citation statements)

References 41 publications

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“…Furthermore, this study takes a close look at the construction of discourses through which improvisation has been framed in the field of music education, providing insights on how such discourses create particular pedagogical visions of improvisation. In this sense, it comes close to Mantie’s (2013) critical examination of discourses constructed through “popular music pedagogy” scholarly studies.…”

Section: Research Questionsmentioning

confidence: 92%

Mapping visions of improvisation pedagogy in music education research

Siljamäki

Kanellopoulos

2019

Research Studies in Music Education

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This systematic literature review aims to identify and critically examine the prevailing general trends of music education research that addresses issues of improvisation from 1985 to 2015. The study examined the main features of studies with impact that focus on musical improvisation and have been published in peer-reviewed music education journals. Data were organised on the basis of the following: 1) General publication features; 2) Topic; 3) Methodological approach; 4) Participant features; 5) Type of improvisation; 6) Definition of improvisation; 7) Findings; 8) Suggestions for practice. The study also takes a close look at the construction of the discourses through which improvisation has been framed in the field of music education, providing insights on how such discourses create particular pedagogical visions of improvisation. To this end, we have created a map of the different visions of improvisation pedagogy that the studied works point towards. These visions have been clustered in the following five categories: (i) from rupture of certainties to creative problematisation; (ii) return to the “natural” beginning—in search of humanness; (iii) improvisation as a learning tool; (iv) conserving and enlivening traditions; (v) improvisation as an impetus for creativity. The map proposed in this study is meant as a possible representation of the general trends that underpin music education research focusing on improvisation. This map can also be seen as a “tool” through which music educators can situate their practice and reflect on their particular ways of working with improvisation, possibly envisioning alternative ways forward.

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Section: Research Questionsmentioning

confidence: 92%

Mapping visions of improvisation pedagogy in music education research

Siljamäki

Kanellopoulos

2019

Research Studies in Music Education

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“…Most music teachers in the U.S. receive little or no preparation in using informal music learning processes or in teaching popular music (Springer, 2013), which may be due to lingering concerns about popular music’s legitimacy and quality (Mantie, 2013). Additionally, most preservice teachers in the U.S. feel unprepared to teach using popular music (Springer, 2013) and view it as unsuitable for school music (Kruse, 2015).…”

Section: Methodsmentioning

confidence: 99%

Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning

Kastner

2018

Research Studies in Music Education

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The purpose of this narrative case study was to describe the developing teacher identity of Nicole Downing, a first-year teacher in the US, in her use of both formal and informal learning processes. As music education continues embracing approaches like informal music learning, it should also reflect on the voices of teachers in the field. Data collection included interviews, observations, and participant writings. Findings revealed that Nicole (a) questioned and eventually accepted her music teacher identity, (b) exhibited a dualism between her use of formal and informal music learning processes, and (c) broadened her community’s definition of school music. Nicole used the metaphor of a bruise to describe how she believed some in her undergraduate studies would judge her interest in popular music and creative musicianship, but as she became a music teacher she had agency to incorporate the informal learning she valued. Nicole exhibited a duality in her use of formal and informal learning processes, which were not integrated in her teaching. Ultimately, she developed a broadened definition of school music that she believed was beneficial for students but perceived negatively by other music teachers. Music teacher education should support teachers’ diverse identities and continue to explore the teaching strategies used in facilitating informal music learning experiences.

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“…International researchers in CPM education advocate for collaborative and inclusive environments (Cremata, 2017), ensemble workshop scenarios (Hall, 2015), and cultural specificity (Dhokai, 2012). A Comparison of Popular Music Pedagogy Discourses (Mantie, 2013) is a content analysis of 81 articles on the topic of popular music education with a focus on discourse within the United States of America. Mantie found that, typically, where popular music education has been adopted, pedagogical practices have not been adapted accordingly.…”

Section: Literature Reviewmentioning

confidence: 99%