Journal of Popular Music Education - Volume 1, Issue 1, 2017

This article takes as its point of origin an extract from Apple’s (2013) book Can Education Change Society? Beginning with the concept of ‘radical democratic egalitarianism’ the author examines the extent to which many current models of music education meet the criteria for ‘robust egalitarianism’ with reference to their inclusion of popular culture. With reference to Williams’ (1961) seminal work in cultural studies The Long Revolution, consideration is given to the extent to which progress towards cultural, musical democracy has been made in music education. These considerations are juxtaposed against the thought of key sociological theorists Apple; E. O. Wright; Bourdieu; Marx and Engels; and Day. The article then discusses research in the area of youth and popular music and surveys international approaches to popular music education. Finally the article turns to pedagogical considerations in relation to popular music. Utilizing Bennett’s (2000) assessment of popular music as one of the primary cultural resources of contemporary social life for young people, an analogy is drawn between Williams’ heralding of the democratic benefits of the introduction of vernacular language as the new channel of general instruction and the possibilities of extending popular music as the new channel of general musical learning. It is suggested that such a change might move the Long Revolution forward in music education and in the cultural lives of young people.

The ‘Chinese dream’, a term popularized by the Chinese socialist state and put forth by Chinese President Xi Jinping in 2013, refers to the collective aspiration of a great rejuvenation of the Chinese nation, as well as the personal dreams of its individual citizens to attain healthy, happy and productive lives. Attempts to integrate this vision into people’s thoughts have been made via Chinese propaganda songs broadcast through state-run media and textbook materials. The ‘core socialist values’ linked to the Chinese dream reflect the wish for all Chinese to have a better future through national rejuvenation. The current rise of Confucianism is a manifestation of cultural nationalism in education that has emerged from the growing political and economic power of China. In terms of soft power, transmitting select popular music through education and culture is one way to bring about harmony in the changing society of mainland China. With particular and sustained attention to the power of China’s popular music, this article examines how music education (with a particular selection of songs adopted for official propaganda and state-approved music textbooks) responds to the rule of the Communist Party of China and its attempts to consolidate power in a global age.

This empirical study explores the responses of 40 young people to a chamber music concert, considering how their greater experience of popular music listening formed a frame of reference for their responses to live classical music. Using qualitative methods including the ‘Write-Draw’ technique to investigate the young people’s responses before, during and after the concert, we demonstrate how the emotional, responsive listening of popular music conflicted with the etiquette of the concert hall and the structures of classical music. Our study sheds new light on the continued decline of young audiences for classical concerts and presents a challenge to music education to equip young people for all kinds of live musical experience.

This article explores the evolving role of facilitators in popular music education contexts, building on research in music education related to a range of topics such as calls for reform, informal learning, experiential learning, popular music and technology based music learning contexts. A popular music education facilitator employs constructivist learning approaches through student-centred experiential processes. A series of case studies were conducted at various schools including middle schools, high schools and post-secondary contexts. Participants’ classroom management styles ranged from from low-control to high-control facilitation. Student perspectives indicated that facilitation promoted democracy, autonomy, diversity, hospitality, differentiation, exploration, creativity, collaboration and inclusivity. The findings and implications of this research apply to the music education profession, calling into question foundations of student-centred learning, autonomy and increased student agency in music learning contexts.

Much has been written about musical practice and performance, with little consensus over what practice means, or how musicians progress by practising. Studies have focused primarily on individual Western classical musicians in the conservatoire, with more recent research turning to popular, jazz and folk musicians. Informal and collaborative practices are central in popular musicians’ learning. The current research project focuses on the practice and performance of undergraduate popular musicians, described in students’ reflective essays. This article presents highlights in the musical development of one cohort of popular musicians over the 3 years of their study, including examples of practice behaviours, development of technique, collaboration with band members through rehearsals, creating original material, and gigging on and off campus. Findings indicate the possible role of reflection to support musical development of students, motivated by membership of bands and increasing technical prowess, linked to set lists and band aspirations to perform off-campus.

This article explores the potential role of popular music studies when integrated into popular music practice programmes in higher education, and proposes that purely theoretical popular music studies could inform creative practice in the education of popular music practitioners. In bringing popular music studies and popular music practice together under the banner of popular music education, it is proposed that popular music practice educators should consider the study of popu- lar music from a sociocultural perspective as well as a practical one. The argument is informed by two field reports that map higher education in popular music in the United Kingdom and in Australia, respectively, supported by responses of students to the integration of popular music studies into an Australian popular music prac- tice programme. The findings show that students of popular music practice benefit- ted from the inclusion of popular music studies into their curriculum through the development of critical listening skills and songwriting ability, expansion of a range of vocational skills and a stronger sense of purpose within the music industry.

Heavy Metal Studies and Popular Culture, Brenda Gardenour Walter, Gabby Riches, Dave Snell and Bryan Bardine (2016) Basingstoke: Palgrave, 214 pp., ISBN: 978-1-137-45667-0, h/bk, £68.00

Playing Along: Digital Games, Youtube, and Virtual Performance, Kiri Miller (2012) New York, NY: Oxford University Press, 272 pp., ISBN: 019-9-753-466, p/bk, $31.95