Learning to make noise: toward a process model of artistic practice within experimental music scenes

Woods, Peter J.

doi:10.1080/10749039.2022.2098337

Cited by 3 publications

(2 citation statements)

References 31 publications

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“…J. Woods, 2019, 2022). According to Perry (2011), individuals within these music scenes start as legitimate peripheral participants by contributing to their local music scene as fans and audience members.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

Conceptualizing Anti-Racist Pedagogies Within Experimental Music's Community of Practice

Woods

2023

Adult Education Quarterly

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Despite communities of practice (COPs) literature asserting the importance of attending to power dynamics within these learning contexts, research has largely ignored the process of racialization within COPs and, in particular, the role anti-racist pedagogies play within these spaces. In response, I present findings from an instrumental case study to address the following research question: how do participants in an experimental music community conceptualize anti-racist pedagogies within their COP? Building on Kenny’s notion of communities of musical practice, my analysis shows that the board members and employees of the experimental music venue at the center of this study recognize opportunities to challenge white supremacy and build critical understandings of racialization across all three of Wenger’s dimensions of COPs: mutual engagement, joint enterprise, and shared repertoire. This study therefore provides a potential framework for future studies into anti-racist pedagogies within informal adult education.

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Section: Theoretical Frameworkmentioning

confidence: 99%

Conceptualizing Anti-Racist Pedagogies Within Experimental Music's Community of Practice

Woods

2023

Adult Education Quarterly

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“…These interpersonal interactions, a core component of DIY music pedagogy, both lead to the co-construction of musical knowledge and provide a mechanism for communal and individual identity development (Niknafs, 2018; Tucker, 2012; Verbuc, 2014). DIY music scenes enable these pedagogical encounters by creating space for individuals and communities to experiment with and interrogate different ideological formations and identities through social interaction (Cordova, 2016; Dines, 2015; Woods 2022a), with participants learning through cultural resistance and developing political ideologies that extend beyond musical practices (Malott & Carroll-Miranda, 2003; O’Hara, 1999). DIY scenes therefore represent a rich learning ecology to not only construct musical knowledge, but also develop ideological and ethical frameworks.…”

Section: Introductionmentioning

confidence: 99%

The Pedagogy of Gear Touchers: Unearthing Modes of Teaching Within and Through DIY Venues

Woods

2023

Teachers College Record: The Voice of Scholarship in Education

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Background: Within the body of literature on do-it-yourself (DIY) music scenes, researchers have routinely placed an emphasis on the role of material space in shaping the sociocultural and musical practices of punk music and other related genres. Scholars have also examined the teaching and learning processes of these musical subcultures under the banner of “punk pedagogy” scholarship. However, investigations into the intersection between these two strands of research need to occur because theories of punk pedagogy have largely overlooked the role of physical space within the educative practices of DIY music. Research into the thematically related space of the maker movement amplifies this need, because maker education scholars have repeatedly shown the multiple ways that materials and space shape how individuals learn through DIY production. Research Questions: I use this paper to attend to the following questions: How do DIY music venues shape the pedagogical practices of DIY music scenes? And in what ways do those pedagogies align with the ideological and ethical aims of these communities? By focusing on learning within DIY venues, I consider multiple forms of musical production outside of the context of a specific genre (i.e., punk). This study therefore provides insight into the mechanisms through which individuals learn and how those mechanisms relate to the physical affordances of these spaces. Research Design: To address these questions, I conducted a year-long comparative case study into two intertwined music series centered on noise music (an experimental subgenre within DIY music’s broad umbrella) and located in two separate DIY venues. Although each of the 13 events in this series included both a workshop and a concert, I focus my analysis on the concert portion of the series to explore a common site of interaction within DIY scenes. Through open and iterative qualitative analyses of field notes generated from observations of concerts in the series and interviews with featured artists and audience members, I provide a nuanced understanding of learning within DIY music venues and the role that both material space and technologies play in shaping that process. Conclusions: Drawing on this analysis, I contend that the stageless design of DIY venues provides a physical affordance that allows “gear toucher conversations” to occur. These conversations involve audience members engaging performers in discussions about the music technologies they use mere seconds after they finish performing, thus linking this pedagogical moment to the material attributes of the venue. However, these conversations reinscribe masculine notions of technology and undermine DIY music’s egalitarian politics, a finding that mirrors critical research into maker education. This work therefore calls on both researchers and practitioners to contend with the pedagogies of place and the educative processes that emerge out of situated technologies to further the liberatory praxes that DIY production can produce.

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Scenes of entanglement: Towards a posthuman understanding of the transglobal noise music scene

Woods,

Ortega

2024

DIY, Alternative Cultures & Society

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Drawing on the growing interest in affective and relational approaches to scene studies, we use this paper to explore a reimagining of DIY music scenes, and the transglobal noise music scene in particular, through a posthuman lens. This retheorization situates music scenes as becoming entanglements that incorporate space and time rather than historicized communities bounded by these notions. To ground this work, we present an arts-based duoethnographic exploration of the researchers lived experience within one manifestation of the transglobal noise scene at various times and geographic locations. By embodying a posthuman conceptualization of noise music scenes through our analysis, we construct new ways of theorizing, experiencing, and hearing noise music by critically reimagining the musical, spatial, and sociopolitical boundaries that traditionally define DIY music scenes. In doing so, we present a model for future scene studies that embrace the intra-active nature of these socio-musical contexts.

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Learning to make noise: toward a process model of artistic practice within experimental music scenes

Cited by 3 publications

References 31 publications

Conceptualizing Anti-Racist Pedagogies Within Experimental Music's Community of Practice

Conceptualizing Anti-Racist Pedagogies Within Experimental Music's Community of Practice

The Pedagogy of Gear Touchers: Unearthing Modes of Teaching Within and Through DIY Venues

Scenes of entanglement: Towards a posthuman understanding of the transglobal noise music scene

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