Re viewing listening: ‘Clip culture’ and cross-modal learning in the music classroom

Abstract

This article envisions a new, cross-modal approach to classroom music listening, one that takes advantage of students’ rising screen literacy and the ever-expanding archive of music-related visual material available on DVD and on video sharing sites such as YouTube. It is grounded in current literature on music performance studies, embodied music cognition studies, and screen multimedia studies. Seeking ways to bridge corporeal and cognitive approaches to music analysis, the article links this literature with the recent phenomenon of ‘clip culture’ and provides a sequence of exemplar introductory clip analyses organized according to a framework being developed to inform teacher preparation and classroom work schemes. Cross-modal listening in the context of the emerging clip culture, the article proposes, has the potential to contribute to the ways musical life and education is undergoing reorganization according to plural co-existing contexts and perspectives, including in the areas of pedagogy, technology and media, and repertoire and analysis.

How Are Our Undergraduates Using YouTube? A Survey on Music Students’ Use of YouTube and the Library's Multimedia Collection

“…13 When describing the "clip culture" of YouTube, Michael Webb says that listening to or watching clips of music performances cross-modally enables viewers to "become more consciously aware of the role the body plays in making and responding to music" and could "assist in making classroom music analysis a more multidimensional, imaginative and vital educational experience." 14 This visual means further aids in conveying the musical context and performance practice of the works played. 15 Hence, as Andrew Mercer concludes, music students in particular know that YouTube is their "intuitive resource for their self-directed learning."…”

Videoclip y emociones en el aprendizaje de Español como Lengua Extranjera

“…Cuando los estudios trasladan el videoclip al ámbito educativo, lo presentan como herramienta pedagógica transversal y flexible aplicable a diferentes disciplinas como las ciencias (Walker et al, 2016;Crowther et al, 2016), la economía (VanVleet, 2017), la filosofía (Sciullo, 2014), las enseñanzas artísticas (Hasio y Chen, 2018;Shin, 2016;Taylor, 2007), la educación cívica (Afonso y Teixeira, 2015;Robillard, 2012) o la educación musical (Cayari, 2015;Webb, 2010). Además, resulta idóneo para el trabajo colaborativo (Mericka, 2018;Fields, Vasudevan y Kafai, 2015) o para tratar la interculturalidad (Llanque y Tejerina, 2017).…”

Getting Behind the Scenes of Fleetwood Mac’s Rumours

“…Appendix A, “Background Information about the Video,” primes students to watch the video by providing a cast list and a summary of the interpersonal issues confronting the band members as they worked on Rumours . Appendix B contains “Guiding Questions” that direct students to notice group-related issues in the documentary in order to demonstrate the reason for using the video (Kenworthy-U’Ren & Erickson, 2007) and to make them more active listener-viewers (see Liedtka, 2001; Norris, 2009; Salomon & Leigh, 1984; Webb, 2010). We have found that focused viewing also facilitates the subsequent in-class discussion, by giving more reserved students an opportunity to reflect on and prepare their responses before they are called on to speak in class.…”