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What Lessons can Higher Popular Music Education Learn from Art School Pedagogy?
Abstract and Figures
The first UK based Popular Music degree courses appeared in 1993 and there are now forty-seven different UK universities or institutes who run popular music degree courses (Cloonan and Hulstedt, 2012). Have these courses helped or attempted to develop creatively successful artists who have had an important impact on the popular music industry? From the 1960’s to the 1990’s one of the main academic pathways for aspiring musicians was through Art School (AS) education. These have produced luminaries such as David Byrne, Brian Eno, David Bowie, John Lennon, Pete Townsend and I have listed other key graduates (Appendix 1). This research is the first part of my PHD thesis, where I will ascertain whether there are elements of AS ethos and pedagogical practices that helped to develop this rich vein of creative popular music artists. The study will examine specific practices of AS pedagogy that appear to be key to the development of creative popular music practitioners, with creatively successful musicians being defined as those who have managed to sustain a career within music, while regenerating and maintaining a key voice in the culture. Are these practices and institutional ethos replicated in Higher Popular Music Education (HPME) and could they be developed and implemented within popular music departments? As outlined in the Encyclopedia of Popular Music of the World:
A number of the teaching and learning methodologies traditionally employed in Art Schools are transferable and mirrored in the process and production of pop – for example, practical studio-based, project-centred work, experimental approaches to media and exploration of the self, presented for critique by the peer group. (Shepherd et al., 2003: 153)
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"Il y a eu une telle fertilisation réciproque des idées de la sémiotique de Saussure, centrée sur le code et le langage, et de la sémiotique inspirée par Peirce, qui est pragmatique et interprétative, qu'il est difficile de trouver aujourd'hui un sémioticien qui ne croit pas à la nécessité de développer une socio-sémiotique, interprétative et pragmatique ».
S'il fallait donner l'illustration de cette conception ouverte des avancées en sémiotique, l'ouvrage de Gunther Kress et Théo van Leeuwen : Reading Images - The Grammar of Visual Design, en serait
la meilleure preuve.
The subject of this paper is the relationship between politics and popular culture with a particular focus on the relationship between the politics of the New Right and arabesk music in Turkey in the 1980s. This issue is approached from a socio-historical perspective concentrating not only on the process of social transformation that occurred in the 1980s and the 1990s, but also on the history of the emergence and transformation of modern government and the arabesk music genre in Turkey. Arabesk emerged in the 1960s as the music of the popular masses despite various official measures aimed at inhibiting its expansion. In spite of this historical background, today there is a growing suspicion and belief that arabesk lost its protest character either through its articulation with the New Right's hegemonic project or by becoming a part of recently expanded consumption culture in Turkey. It is true that the 1980s was a transitional period led by the New Right and this has had important effects on popular culture in general and on arabesk music in particular. But does it mean that arabesk died? This paper deals with this question and studies new socio-cultural dynamics that emerged in the 1980s and the 1990s within the context of arabesk music in Turkey. It argues that all the changes that occurred in this period are forcing us to think in a new matrix of relations (economic, political and cultural), within which arabesk is multiplied or fragmented into new subgenres and audience groups. We must also articulate more complex questions than those dichotomic ones such as ‘if arabesk is dead or alive’, if we like to understand new cultural trends underlying our present world and the political potential that they hold for us.
Keywords: modernization, cultural transformation, politics of popular culture, popular music, arabesk music, Turkey, the New Right
Dieses Buch widmet sich den Stimmen und Gesangsweisen in der populären Musik der USA. Am Beispiel von Sängerinnen und Sängern aus den Bereichen Vaudeville, Gospel, Blues, American Popular Song, Musical, Jazz, Country, Folk, Rhythm & Blues, Rock'n'Roll und Soul beschreiben die Beiträge detailliert, wie vokale Ausdrucksmittel einander über Genregrenzen hinweg beeinflusst haben und wie sich in ihnen Images, kulturelle Stereotypen und kollektive Identitäten spiegeln. Die Verknüpfung von musikanalytischen mit kulturwissenschaftlichen Forschungsansätzen gibt neue Impulse für die Auseinandersetzung mit populärer Musik und populärem Gesang.
This thoroughly revised second edition of Allan Moore's ground-breaking book features new sections on melody, Britpop, authenticity, intertextuality, and an extended discussion of texture. Rock's 'primary text' - its sounds - is the focus of attention here. Allan Moore argues for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock and subsequent styles. He also explores the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.