Mixing Memphis Soul into the Community College Curriculum Stew

Krikun, Andrew

doi:10.1111/j.1533-1598.2009.01170.x

Cited by 6 publications

(3 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…If, as Barrett asserts, 'educators and researchers accept that we cannot separate mind and cognition from culture and context' (p. 3), I would argue that a strongly significant culture and context of most of the research in this collection is that of popular musics. Popular music learning occurs extensively inside and outside of institutional environments (Fornas, Lindberg, & Sernhede, 1995;Green, 2002Green, , 2008Kratus, 2007;Krikun, 2009;Smith, 2011aSmith, , 2011bSmith & Bersh, forthcoming), and probably deserved to be paid more direct attention in this volume.…”

Section: Discussionmentioning

confidence: 99%

Book review: M. S. Barrett (Ed.), A Cultural Psychology of Music Education. Oxford: Oxford University Press, 2011. ISBN 9780199214389

Smith

2011

Psychology of Music

View full text Add to dashboard Cite

Book reviews389 maintaining correct posture. The text is enriched with numerous photos illustrating correct and incorrect posture positions in a variety of instruments. The second subsection looks at vocalists and provides guidance on how to maintain a healthy voice. The third subsection is particularly relevant to orchestral musicians, as it focuses on hearing problems. The author refers to the National Institute for Occupational Health and Safety guidelines for sound levels and safe exposure time and compares them with the typical sound levels of various orchestral instruments and performances (e.g. orchestral performance, rock concert) to make the point that most students are getting overdosed with sound. Taking regular hearing exams is imperative for musicians who are exposed to high sound levels frequently. Suggestions for protecting hearing are also given, such as modifying the acoustic environment, reducing or managing exposure and wearing earplugs. Chapter 14 ('Succeeding as a Student'), the final chapter of the book, introduces student/teacher dynamics and provides guidance on issues to consider when selecting an instrumental teacher. Effective communication between student and teacher is vital part of the learning process. The chapter then moves on to consider how to accept and deal with criticism. It also offers some career planning advice and briefly touches on the issue of substance abuse. The chapter concludes by advising musicians to form an artistic vision, work hard, pursue goals and become a part of musical community so that they can learn from others. These are the elements of what Klickstein calls 'the musician's way'.The book also includes a very useful bibliography and also has a companion website with additional resources. Throughout the book, epigraph quotations from well-known performing musicians and music pedagogues are presented, bringing the contents of the book to life. Photos and musical examples enrich the text at various points throughout the book and complement the text. Overall, this book is engaging and well-written and a valuable resource for every performer seeking to develop their craft and maintain career longevity.

show abstract

Section: Discussionmentioning

confidence: 99%

Book review: M. S. Barrett (Ed.), A Cultural Psychology of Music Education. Oxford: Oxford University Press, 2011. ISBN 9780199214389

Smith

2011

Psychology of Music

View full text Add to dashboard Cite

show abstract

“…A more conservative pedagogy operates in an additive fashion: popular music subject matter is supplemented in music studies courses as an addendum to textbooks and lesson plans. Alternately, new courses on rock or other vernacular musics are proposed exclusively using the existing structures of teaching, learning, and evaluation (Krikun 2009). In both cases, popular music is assimilated into a more traditional formal music education in the classroom.…”

Section: Inclusion Of Popular Music Curriculum Into Music Classroomsmentioning

confidence: 99%

Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach

Przybylski,

Niknafs

2015

IASPM Journal

View full text Add to dashboard Cite

This article provides a contextualized explanation of an emerging strategy for popular music teaching and learning in higher education that the authors term Improvisatory Integrative Learning. This strategy coalesces around four themes from a Do-It-Yourself and Do-It-With-Others ethos: autonomy, play, peer learning, and peer teaching. To explicate the possibilities and pitfalls of teaching popular music in this way, the authors analyze the approaches taken in a co-taught university course integrating two perspectives: music education and ethnomusicology. The interdisciplinary collaboration became an investigative space for informal music learning approaches in a formal context, in which students improvised with creative composition. We explore not only how processes that are part and parcel of popular music learning can help improve productivity in a popular music classroom, but also the ways that improvisatory integrative learning can serve a diverse university student population by expanding interdisciplinary approaches to multiple kinds of subject matter.

show abstract

“…Although popular music (or “musics”) received some initial attention from the American music education establishment following the publication of the Documentary Report of the Tanglewood Symposium in 1968 (Choate, 1968), scholarly efforts in the field of popular music and music education have increased rapidly over the past decade, perhaps in response to Green’s (2001) How Popular Musicians Learn: A Way Ahead for Music Education . The diverse topics of interest found in the scholarly literature deemed to fall within the frame of popular music and music education using the keyword phrase popular music included musical interests of students (Campbell, Connell, & Beegle, 2007; Lamont, Hargreaves, Marshall, & Tarrant, 2003), cultural consumption (Graham, 2009), informal music production (White, 2002), student learning as a result of informal or vernacular experiences (Jaffurs, 2004a; Woody & Lehmann, 2010), music making beyond the school years (Pitts, 2007), the training of pop and rock musicians (Hannan, 2006; Krikun, 2009), teacher education (Jones, 2008; Wang & Humphreys, 2009), vernacular music making (O’Flynn, 2006), the impact of “teenage music” on school music programs (Hebert & Campbell, 2000; Seifried, 2006), the appropriateness of popular music in schools (Cutietta, 1991; Gass, 1992; Newsom, 1998; Rodriguez et al, 2004), the nature of the pedagogical relationship (Allsup, 2003; Green, 2008a; Jaffurs, 2004b; Lebler, 2007; Wright, 2008), and the implications of informal learning for pedagogical practices (Davis, 2005; Dunbar-Hall & Wemyss, 2000; Evelein, 2006; Folkestad, 2005; Georgii-Hemming & Westvall, 2010; Green, 2006, 2008b; Jaffurs, 2004b; Lebler, Burt-Perkins, & Carey, 2009; Lindgren & Ericsson, 2010; Westerlund, 2006; Winter, 2004).…”

mentioning

confidence: 99%

A Comparison of “Popular Music Pedagogy” Discourses

Mantie

2013

Journal of Research in Music Education

View full text Add to dashboard Cite

The purpose of this study was to interrogate discourses of "popular music pedagogy" in order to better understand music education practices generally and specifically those in the United States. Employing a conceptual framework based on the work of Jan Blommaert (2005), a content analysis was conducted on a sample of 81 articles related to popular music and music education according to the variables of journal and nationality. Results suggest that international differences in discourse existed. American-based authors focused on issues of legitimacy and quality (repertoire and teaching), whereas non-American-based authors focused on matters of utility and efficacy, with an emphasis on the quality of learning and pedagogical relationship. The lack of awareness (national and international) of discourse features and functions may be limiting the effectiveness of both communication and practice.

show abstract

Mixing Memphis Soul into the Community College Curriculum Stew

Cited by 6 publications

References 7 publications

Book review: M. S. Barrett (Ed.), A Cultural Psychology of Music Education. Oxford: Oxford University Press, 2011. ISBN 9780199214389

Book review: M. S. Barrett (Ed.), A Cultural Psychology of Music Education. Oxford: Oxford University Press, 2011. ISBN 9780199214389

Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach

A Comparison of “Popular Music Pedagogy” Discourses

Contact Info

Product

Resources

About