Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education PDF
Preview Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education
Music Production Cultures Music Production Cultures draws on interviews with international educators, surveys completed by students of music production from around the globe, doctoral research findings and contextualised career experiences from the author as a celebrated music pro- ducer to explore how effective learning environments can be created for popular music production in higher education. Acknowledging the musical, technological and social diversity in global popular music production practice, this book highlights the integral elements that educators and their institutions must consider in order to provide high-quality and relevant education for the students of today and into the future. Offering concepts, approaches and practices to be integrated into diverse music production pedagogical frameworks in higher education, this book considers the pedagogical approaches and goals that bridge music production educa- tion to the industry, using examples and insights from international educators throughout as well as lesson plan examples for instructors. Music Production Cultures develops a foundation of practice to inform teachers designing equitable, diverse and inclusive pedagogies that are dependent on the musical, cultural and social influences of their students. This is an invaluable resource for educators and researchers in the area of audio education looking to develop their pedagogical strategies. Brendan Anthony has an international career as a popular music producer of 30 years, holds a doctorate of education and lectures in music production within the Bachelor of Music at the Queensland Conservatorium, Griffith University. Brendan’s research engages with popular music production, popular music education and the relationship between technology and music production creative practice. More information is available at brendananthonymusic.com. “Brendan Anthony has produced a visionary, forward-thinking book which is not only fascinating, entertaining, and highly readable, but also rigorously academic. Drawing from an amalgam of professional experience across the music industry and higher education divide, he has woven a detailed and erudite research project through the two. A quite brilliant achievement which I hope will be a landmark in how higher education and industry work for popular music production in the future.” Professor Lucy Green, UCL Institute of Education, London, UK “In this exciting new book, Brendan Anthony presents a timely and detailed student-centred exploration of teaching and learning in popular music production, engaging producers, performers and professors as he weaves together expert pedagogical advice and profound insights from both sides of the glass.” Dr Gareth Dylan Smith, Assistant Professor Music, Music Education, Boston University, USA “Brendan Anthony has made a significant contribution to the world of pedagogical music production practice with this volume of work that will be celebrated by educators internationally. This authoritative work has been written from both the perspective of an academic and a working practitioner. It provides an insightful and much needed view of what goes on behind the glass from the lens of an educator and highlights the key issues for academics and students working in the field. The field of music production continues to develop from both technical- and cultural-perspectives that explore both the creation of the technology, its use, and the approach of musicians and record producers and how they create work in the studio. This important text and much needed work will fill a gap in the literature in terms of how we frame popular music production methods from pedagogical and cultural perspectives.” Professor Andrew King, Head of School of the Arts, University of Hull, UK Perspectives on Education in Audio and Music Production Series Editors: Russ Hepworth-Sawyer, York St John University, UK Mark Marrington, York St John University, UK Tim Canfer, University Campus Barnsley, UK Carola Boehm, School of Digital, Technologies and Arts, Staffordshire University, UK Brendan Anthony, Queensland Conservatorium, Griffith University, Australia Perspectives on Education in Audio and Music Production (POEM), centralises discourse around teaching and learning within the fields of audio, music technology and music production, including creative music creation. The series collects both academic and experientially informed considerations of teaching and learning from a multitude of perspectives. POEM captures not only the views of the educator, but also the perspectives of the learner as well as the industry professional. Issues around historical and contemporary context, pedagogical issues, self-directed learning paradigms, employability and vocationality, professional education, and industry relations with education provide the foundationary themes for the series. Music Production Cultures Perspectives on Popular Music Pedagogy in Higher Education Brendan Anthony For more information about this series, please visit: www.routledge.com/ Perspectives-on-Education-in-Audio-and-Music-Production/book-series/POEM Music Production Cultures Perspectives on Popular Music Pedagogy in Higher Education Brendan Anthony Designed cover image: Brendan Anthony First published 2023 by Routledge 4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 605 Third Avenue, New York, NY 10158 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2023 Brendan Anthony The right of Brendan Anthony to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Anthony, Brendan, author. Title: Music production cultures : perspectives on popular music pedagogy in higher education / Brendan Anthony. Description: Abingdon, Oxon ; New York : Routledge, 2023. | Series: Perspectives on education in audio and music production | Includes bibliographical references and index. | Identifiers: LCCN 2022027861 (print) | LCCN 2022027862 (ebook) | ISBN 9780367517649 (hardback) | ISBN 9780367517632 (paperback) | ISBN 9781003055099 (ebook) Subjects: LCSH: Popular music—Instruction and study. | Popular music—Production and direction. | Popular music—Writing and publishing. | Education, Higher. Classification: LCC MT67 .A67 2023 (print) | LCC MT67 (ebook) | DDC 782.42/13—dc23/eng/20221004 LC record available at https://lccn.loc.gov/2022027861 LC ebook record available at https://lccn.loc.gov/2022027862 ISBN: 978-0-367-51764-9 (hbk) ISBN: 978-0-367-51763-2 (pbk) ISBN: 978-1-003-05509-9 (ebk) DOI: 10.4324/9781003055099 Typeset in Times New Roman by codeMantra Access the Support Material: www.routledge.com/9780367517632 Contents List of Figures ix List of Tables x Foreword by Susan Rogers xi Author’s Preface: “Breaking the Glass” xiii Acknowledgements xviii Introduction: Music production cultures and rationale 1 Part 1 M odern popular music production skills, practices and processes 17 1 Music production skills and creative practice 19 2 Popular music production processes (Part A). Cognition, popular music production agency and socio-musical concepts 34 3 Popular music production processes (Part B). The manifestation of recorded works 55 4 Songwriting and production 66 5 Music production subjectivity and creativity 75 Part 2 P opular music production pedagogy that bridges to the real world 83 6 What is the real world? 85 7 Popular music production learning approaches 98 8 The places and spaces of popular music production pedagogy 109 9 The cohort (both sides of the glass) 121 vii viii Contents Part 3 Pedagogical approaches 133 10 Popular music production pedagogy—an engagement with diverse music production cultures 135 11 Learning frameworks 145 12 The music 157 13 The educator’s role 166 14 Practice-based pedagogical applications 180 15 Collaboration and creativity in popular music production pedagogy 187 16 Learning popular music production 198 17 Class targets 206 18 Assessment 225 19 Student accountability and educator mentorships 235 Part 4 P edagogical timeline, graduate considerations and summary 251 20 Student progression and graduate futures 253 21 Pedagogical summary and challenges 261 Appendix A The doctoral case study 275 Appendix B Useful lecture and tutorial content 281 Appendix C International student survey questions 284 Index 289 Figures I.1 Music production cultures 3 5.1 A reconfiguration of the systems model of creativity 77 7.1 King’s framework for recording studio pedagogy 100 10.1 Student’s word art (recontextualised) – higher education music production culture 136 10.2 Student word art – higher education popular music production pedagogy 136 10.3 Pedagogy that develops a holistic understanding of the greater practice of popular music production 138 10.4 The six levels within the cognitive domain of Bloom’s taxonomy 140 15.1 Popular music production undergrad systems model of creativity – the student’s lens 195 16.1 Popular music production pedagogy 199 20.1 PMPP foundational knowledge, creative practice and student-centred timeline 254 20.2 Popular music production pedagogical timeline 255 ix
The list of books you might like
