Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach
Keywords:Improvisatory Integrative Learning, popular music teaching and learning, higher education, informal music learning, Do-It-Yourself (DIY), Do-It-With-Others (DIWO)
AbstractThis 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.
Archer, R. 2012. Assessing Turbofolk Controversies: Popular Music Between the Nation and the Balkans. Southeastern Europe 36 (2): 178-207.
Barz, G. and Cooley, T. J. 2008. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. 2nd Edition. New York: Oxford University Press.
Biamonte, N. 2011. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to Youtube. Lanham, Md: Scarecrow Press.
Björnberg, A. 1993. Teach You to Rock? Popular Music in the University Music Department. Popular Music 12 (1): 69-75.
Blom, D. and Poole, K. 2004. Peer Assessment of Tertiary Music Performance: Opportunities for Understanding Performance Assessment and Performing through Experience and Self-Reflection. British Journal of Music Education 21 (1): 111-125.
Boud, D., Cohen, R. and Sampson J. Eds. 2001. Peer Learning in Higher Education: Learning from and With Each Other. UK: Psychology Press.
Byrne, C. and Sheridan, M. 2000. The Long and Winding Road: The Story of Rock Music in Scottish Schools. International Journal of Music Education 36: 46-57.
Campbell, P. S. 1995. Of Garage Bands and Song-Getting: The Musical Development of Young Rock Musicians. Research Studies in Music Education 4: 12-20.
Catlow, R. and Garrett, M. 2007. Do It with Others (DIWO): Participatory Media in the Furtherfield Neighbourhood. In F. Da Rimini Ed. A Handbook for Coding Cultures. Coding Cultures Symposium: 21-28.
Choate, R. A. 1968. Documentary Report of the Tanglewood Symposium. Washington, D.C.: Music Educators National Conference.
Cutietta, R. 1991. Popular Music: An Ongoing Challenge. Music Educators Journal 77 (8): 26-29.
Clements, A. C., and Campbell, P. S. 2006. Rap, Rock, and Rhythm: Music and More in a Methods Class. The Mountain Lake Reader 4: 16-22.
Cloonan, M. and Hulstedt, L. 2013. Looking for Something New: The Provision of Popular Music Studies Degrees in the UK. IASPM@Journal 3 (2): 63-77.
Cogan, B. 2007. ‘Do They Owe Us a Living? Of Course They Do!’ Crass, Throbbing Gristle, and Anarchy and Radicalism in Early English Punk Rock. Journal for the Study of Radicalism 1 (2): 77-90.
Deci, E. L., and Ryan, R. M. 1985. Intrinsic Motivation and Self-Determination in Human Behavior. New York, NY: Harper and Row.
Dochy, F., Segers, M. and Sluijsmans, D. 1999. The Use of Self-, Peer and Co-Assessment in Higher Education: A Review. Studies in Higher Education 24 (3): 331-350.
Dunbar-Hall, P. 2009. Studying Music, Studying the Self. In B. Bartleet and C. Ellis Eds. Music Autoethnographies. Brisbane: Australian Academic Press: 153-166.
Dunbar-Hall, P. and Wemyss, K. 2000. The Effects of the Study of Popular Music on Music Education. International Journal of Music Education 36: 23-34.
Elliott, D. J. 1995. Music Matters: A New Philosophy of Music Education. New York, NY: Oxford University Press.
Evelein, F. 2006. Pop and World Music in Dutch Music Education. International Journal of Music Education 24 (178): 178-187.
Falchikov, N., and Goldfinch, J. 2000. Student Peer Assessment in Higher Education: A Meta-Analysis Comparing Peer and Teacher Marks. Review of Educational Research 70 (3): 287-322.
Garber, M. 2009. Academic Instincts. Princeton: Princeton University Press.
Garrett, M. and Catlow, R. 2012. DIWO: Do It With Others – No Ecology Without Social Ecology. Remediating the Social: 69-74.
Green, L. –
How Popular Musicians Learn: A Way Ahead for Music Education. UK: Ashgate.
Music, Informal Learning and the School: A New Classroom Pedagogy. Hampshire, UK: Ashgate.
Hannan, M. 2003. Future Musicianship and Training for Popular Musicians. In S. Leong Ed. Musicianship in the 21st Century: Issues, Trends and Possibilities. The Rocks, N.S.W.: Australian Music Centre: 91-101.
Harrison, A. K. 2014. “What Happens in the Cabin...”: An Arts-Based Autoethnography of Underground Hip Hop Song Making. Journal of the Society for American Music 8 (1): 1-27.
Hebert, D. G. 2011. Originality and Institutionalization: Factors Engendering Resistance to Popular Music Pedagogy. Music Education Research International 5: 12-21.
Hebert, D. G., and Campbell, P. S. 2000. Rock Music in American Schools: Positions and Practices Since the 1960s. International Journal of Music Education 36: 14-22.
Ho, W. 2014. Music Education Curriculum and Social Change: A Study of Popular Music in Secondary Schools in Beijing, China. Music Education Research 16 (3): 267-289.
Hunter, D. 1999. Developing Peer-Learning Programmes in Music: Group Presentations and Peer Assessment. British Journal of Music Education 16 (1): 51-63.
Jaffurs, S. E. 2004. The Impact of Informal Music Learning Practices in the Classroom, or How I learned How to Teach from a Garage Band. International Journal of Music Education 22 (3): 189-200.
Jung, E. 2014. Transnational Migrations and YouTube Sensations: Korean Americans, Popular Music, and Social Media. Ethnomusicology 58 (1): 54-82.
Krikun, A. 2009. Mixing Memphis Soul into the Community College Curriculum Stew. Journal of Popular Music Studies 21 (1): 76-89.
Lebler, D. 2008. Popular Music Pedagogy: Peer Learning in Practice. Music Education Research 10 (2): 193-213.
Leblanc, L. 1999. Pretty in Punk. New Brunswick: Rutgers University Press.
Mantie, R. 2013. A Comparison of “Popular Music Pedagogy” Discourses. Journal of Research in Music Education 61 (3): 334-352.
Nooshin, L. 2005. Underground, Overground: Rock Music and Youth Discourses in Iran. Iranian Studies 38 (3): 463-494.
Oehler, S. E. and Hanley, J. 2009. Perspectives of Popular Music Pedagogy in Practice: An Introduction. Journal of Popular Music Studies 21 (1): 2-19.
Pfleiderer, M. 2011. German-language Popular Music Studies in Germany, Austria and Switzerland. IASPM@Journal 2 (1-2): 45-50.
Pulman, M. 2014. Popular Music Pedagogy: Band Rehearsals at British Universities. International Journal Of Music Education, 32 (3): 296-310.
Reynolds, S. 2006. Rip It Up and Start Again. New York: Penguin Books.
Rodriguez, C. X. 2004. Bringing It All Back Home: The Case for Popular Music in the Schools. In C. X. Rodriguez Ed. Bridging the Gap: Popular Music and Music Education. Reston, VA, MENC: 3-9.
Russell, J. 2006. What’s to Be Done with the Fox? Inuit Teachers Inventing Musical Games for Inuit Classrooms. Curriculum Inquiry 36 (1): 15-33.
Sanjeev, D., and Ramaprasad, J. 2012. Research Note: Music Blogging, Online Sampling, and the Long Tail. Information Systems Research 23 (3): 1056-1067.
Searby, M., and Ewers, T. 1997. An Evaluation of the Use of Peer Assessment in Higher Education: A Case Study in the School of Music, Kingston University. Assessment and Evaluation in Higher Education 22 (4): 371-383.
Shepherd, J. et. al. Eds. 2003. Continuum Encyclopedia of Popular Music of the World. London: Continuum.
Snell, K. 2009. Embodied Performance in Popular Music: Considerations for Music Education through an Examination of the Dresden Dolls. Journal of Popular Music Studies 21 (1): 59-75.
Stokes, M. 2010. The Republic of Love: Cultural Intimacy in Turkish Popular Music. University of Chicago Press.
Thompson, L. K. 2007. Considering Beliefs in Learning to Teach Music. Music Educators Journal 93 (3): 30-35.
Titon, J. T. 2009. Teaching Blues and Country Music, and Leading an Old-Time String Band – at an Ivy League University. Journal of Popular Music Studies 21 (1): 113-124.
Topping, K. 1998. Peer Assessment Between Students in Colleges and Universities. Review of Educational Research 68 (3): 249-276.
Wicke, P. 1990. Rock Music: Culture, Aesthetics, and Sociology. Cambridge: Cambridge University Press.
Wong, D. 2008. Moving: From Performance to Performative Ethnography and Back Again. In G. F. Barz and T. J. Cooley Eds. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. Second Edition. New York: Oxford University Press: 76-89.
Yuyan, W. 2009. The Road to Becoming a Musician. In B. Bartleet and C. Ellis Eds. Music Autoethnographies. Brisbane: Australian Academic Press: 167-180.
Authors retain copyright, while licensing their work under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.