The aesthetic pedagogies of DIY music

Woods, Peter J.

doi:10.1080/10714413.2020.1830663

Cited by 8 publications

(3 citation statements)

References 28 publications

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“…Although some studies do position DIY music venues as unique learning environments (Tucker, 2012;Woods, 2021a), extant literature on "punk pedagogy" (or the study of education within and related to punk and DIY music) has generally focused on the translation of music-based cultural politics into formal classrooms (Miklitsch, 1994;Miner & Torrez, 2012;Niknafs & Przybylski, 2017) or how individuals construct and share knowledge within music scenes and through musical artifacts (Cordova, 2016;Dines, 2015;Niknafs, 2018;Woods, 2021b) without considering the role of venues themselves. This happens in spite of the emphasis on materiality within DIY music research (Klett & Gerber, 2014;Makagon, 2015;Verbuc, 2014).…”

Section: Abstract Pedagogy Of Place Punk Pedagogy Diy Music Maker Edu...mentioning

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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Section: Abstract Pedagogy Of Place Punk Pedagogy Diy Music Maker Edu...mentioning

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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“…Hence, punk offers material, conceptual, political, and social resources that ‘both challenges and provides alternatives [for] the politics of everyday life’ (Dunn, 2016: 19). In this paper, I work with the understanding that ‘punk culture holds the potential to transform educational spaces into sites of empowerment that instil agency and critical thinking skills’ (Woods, 2020, n.p. ).…”

Section: Soundcheck: Why Punk and Teacher Education?mentioning

confidence: 99%

Punk teacher education: Finding ways to interrupt the harmful effects of teacher accountabilities

Vass

2023

Research in Education

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In recent years a suite of policies and practices that are strongly influenced by efforts to make the work of educators and education providers more accountable, have had a powerful impact across the sector in settings such as Australia. In part, this goes some way to explaining why many working in the teaching profession report being dissatisfied with their role in education, and significant numbers leave the profession within the initial 5 years in Australia. Both in this context and beyond, there is a growing chorus of voices that encourage finding ways to push back and interrupt the impacts of accountability initiatives in education. Teacher education is itself one of the contexts in which this contestation is playing out, and whether it be voiced in terms of reimagining, revolutionising, or reclaiming education, the core sentiment can be interpreted as a type of call to arms for those working with educators. In this paper, I will make the case that punk can productively contribute to efforts responding to the influences of dominant culture in education. Punk in this usage can be thought of as social practices that generate cultural resources that can be utilised to question and critique dominant culture.

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“…Sobirov Bakhodir studied the aesthetic characteristics of folk music and emphasized the aesthetic value of music [4]. Woods Peter J studied do-it-yourself music and discussed the aesthetic value of do-it-yourself music [5]. Majidov Dilshod interpreted the development of future teachers' aesthetic culture as teaching students to understand and feel the beauty of nature, the beauty of society and labor relations, and the beauty of life and art, and discussed the role of classical music in improving teachers' aesthetic taste [6].…”

Section: Introductionmentioning

confidence: 99%

Research on the Cultivation of Aesthetic Ability in Music Aesthetic Education Practice Teaching in Colleges Based on Big Data

2023

FER

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At the present stage, schools gradually pay attention to quality education, cultivating students' aesthetic ability as an important link of quality education in schools, naturally also attracting the attention of schools. Music teaching is an important course to enhance students' aesthetic ability. To carry out practical teaching of music, aesthetic education is of great significance to strengthen the construction of moral education and enhance students' aesthetic ability. Based on this, this paper studies the cultivation of students' aesthetic ability in the practice and teaching of music aesthetic education. Through the investigation of the current situation of aesthetic ability cultivation, the following conclusions are drawn: most students' musical aesthetic ability is low; there are 74.84% students' evaluation of music aesthetic teaching is average. After the investigation of the current situation of the cultivation of students' aesthetic ability, this paper puts forward the cultivation strategy of students' aesthetic ability by combining big data (BD), such as cultivating students' aesthetic interest, enhancing aesthetic understanding, carrying out diversified practical activities and evaluating the practical teaching of music aesthetic education.

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The aesthetic pedagogies of DIY music

Cited by 8 publications

References 28 publications

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

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

Punk teacher education: Finding ways to interrupt the harmful effects of teacher accountabilities

Research on the Cultivation of Aesthetic Ability in Music Aesthetic Education Practice Teaching in Colleges Based on Big Data

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