Exiles on Main Street: A Pedagogy of Popular Music Through Technology and Aesthetic Education

This dissertation investigates the application of instructional technology within the specific context of popular music education. Synthesizing the work of Mishra & Koehler (2006) and Bauer (2014), this dissertation operationalizes a broader, more contemporary definition of instructional technology that goes beyond the traditional conception of mere instructional tool towards one that is more protean, unstable, and opaque. Research questions about technology’s impact on music education are central to this curriculum study and evolve into considerations on how the relationship of popular music and instructional technology shape a pedagogy for popular music education. Making use of principles rooted in aesthetic education, critical pedagogy, and TPACK, the curriculum created fulfills the requirements of an undergraduate program in music education mapped onto the National Association of Schools of Music standards. Presented along with a standards map are course overviews, syllabi, and lesson plans that specifically make use of the theoretical backgrounds discussed

Remix Perspective: Transdisciplinary Insights for the Art of Writing

How do creative writers transform the complexity of life into literature? Remix Perspectives presents a bricolage synthesis of transdisciplinary insights for workshop leaders and creative writers, appropriated from selected artistic and literary voices from more or less the last hundred years. Seminal concepts from arts such as painting, poetry, dance, music, and photography are gathered here as they inform the arts of literary fiction and creative nonfiction. Thinkers from philosophy, psychology, literary theory, complexity, and metaphysics address the inner and outer realms where the work of the writer is generated and goes forth

Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of \u27World Class\u27 Delhi

Delhi has nearly doubled in population since the early 1990s due to in-migration (censusindia.gov, 2011). These migrants, like migrants around the world, strive to adapt to their new surroundings by producing themselves in ways which make them socially, economically, and politically viable. My project examines how recent international and intranational immigrant youth who have come to Delhi to partake in its economic possibilities and, in some cases, to escape political uncertainty, are utilizing globally circulating popular cultural forms to make themselves visible in a moment when the city strives to recast its image as a world class destination for roaming capital (Roy, 2011). I focus on two super diverse settlement communities in South Delhi to explore the citizenship making claims of immigrant youth who, to date, have been virtually invisible in academic and popular narratives of the city. Specifically, I follow three groups of ethnically diverse migrant youth from these two settlement communities as they engage with hip hop, a popular cultural form originating in Black American communities in the 1970s (Chang, 2006; Morgan, 2009; Rose, 1994). As hip hop\u27s music and its practices gain popularity amongst youth in Delhi from across a wide spectrum of class and ethnic positions, I trace how these migrant youth utilize its styles and globally reaching networks coupled with inexpensive digital capture technology to fashion themselves and their settlement communities as part of a world class urbanity in the making.

"What was once rebellion is now clearly just a social sect": Identity, ideological conflict and the field of punk rock artistic production

I advance a sociological reappraisal of the Western punk rock youth cultural artistic form. Contrasting prevalent perspectives correlating punk rock culture with adolescent rites of superficial social rebellion, I argue that the art form often exudes an underappreciated level of sophistication. I argue for the presence of two dominant strains of punk artistic logic, and demonstrate how each correspond with popular trends in neo-Marxist social theory. However, I also note that these competing logics promote contradictory forms of punk artistic conduct. Incorporating the perspectives of Pierre Bourdieu, I link this imperative for ideological division with the punk artists’ placement within fields of cultural production. Drawing from the artistry and testimonies of historically significant punk artists (and artistic consecrators), I argue that notable instances of punk ideological debate simultaneously function to allow punk artists to compete amongst one another for claims to artistic distinction and authority. I consider significant case studies wherein ideological debates double as tactics through which artists bolster their own claims to distinction in striving to delegitimize the authority of their ideological competitors. I question whether the primary function of ideological punk artistic debate stem from sincere ideological imperatives, or concerns surrounding the processes of accrediting individual claims to artistic legitimacy within the punk artistic field. Critically considering the interaction between collectivist punk artistic ideologies and the individualistic imperative of asserting personal claims to authoritative punk identity, I conclude that movements toward internal differentiation ultimately undermine punk rocks’ capacity to serve as a substantive counter-hegemonic artistic movement

RISD XYZ Spring/Summer 2014: Natural Instincts | Full Issue

As ANIMALS, WE\u27RE ALL PART OF NATURE, sharing DNA with fish, trees, rocks—everything that came to be with the big bang. We’re also dependent on nature for everything: water, oxygen, food, life. And as the animals currently at the top of the food chain, we’re responsible for respecting and caring for it, too... So what do we do when faced with both the fury and fragility of nature? Do we shrug it off, thinking: “the planet is ruined and we’re screwed,” as Associate Professor Damian White asks (page 52)? Or do we take science seriously and recognize that whatever we do to the earth we do to ourselves? This is just the tip of the iceberg fueling a resurgence of interest among RISD artists and designers who are grappling with matters of human folly, sustainability, global warming and more... . From the editor\u27s message by Liisa Silanderhttps://digitalcommons.risd.edu/risdxyz_springsummer2014/1004/thumbnail.jp

MEANS OF CONVEYANCE: SPOKEN WORD PEDAGOGY, HIP HOP LITERACIES, AND THE CHALLENGES OF FOSTERING POETRY SPACES

Thesis (Ph.D.) - Indiana University, School of Education, 2020This dissertation examined the relationships between teachers, students, and “teaching artists” (Graham, 2009) who use poetry as a vehicle for literacy learning. One popular practice is the use of “spoken word,” (Somers-Willett, 2009) a fiery brand of performative poetry popularized by artists from the hip hop music scene (Hill, 2009) and the competitive poetry slam circuit (Woods, 2008). A wealth of qualitative studies extol the virtues of “spoken word pedagogy,” (Kim, 2013; Low, 2011; Weinstein, 2010) noting its power when used as a vehicle for writers to construct literate identities (Fisher, 2007) and form critiques of socio-political issues (Jocson, 2008). To best understand how these dialogic communities operate in precarious times, this study explored the numerous, overlapping spaces where spoken word is used as a pedagogy for multiliteracies. This dissertation employed a practice that Prendergast (2009) called “poetic inquiry,” a creative approach to qualitative inquiry where the researcher adopts the tools a poet uses to search for truth in the world. To explore critical issues in the global spoken word community, a new, hip-hop-infused version of poetic inquiry was created for this study, called “(re)mixed methods.” The findings of this four year study reveal that collaborative teams of poets often face concrete challenges sustaining educational poetry programs, which threaten the relationships necessary to hearten such communities. Findings also highlight that many participants use poetry to name these barriers that repress them, authoring striking narratives about issues such as economic inequality, the need for school reform, structural racism, gender discrimination, the school-to-prison pipeline, and the unmet mental health needs of students. The implications of these findings challenge stakeholders to consider how spoken word pedagogy ix serves as a conduit for intergenerational dialogue, and could be used to help collaborative learning communities envision a future beyond the challenges they face

2004, UMaine News Press Releases

This is a catalog of press releases put out by the University of Maine Division of Marketing and Communications between January 12, 2004 and December 21, 2004

Lawrence, Fall/Winter 2022

https://lux.lawrence.edu/alumni_magazines/1119/thumbnail.jp

Listening to the Lomax Archive

In 1933, John A. Lomax and his son Alan set out as emissaries for the Library of Congress to record the folksong of the “American Negro” in several southern African American prisons. Listening to the Lomax Archive: The Sonic Rhetorics of African American Folksong in the 1930s asks how the Lomaxes’ field recordings—including their prison recordings and a long-form oral history of jazz musician Jelly Roll Morton—contributed to a new mythology of Americana for a nation in the midst of financial, social, and identity crises. Stone argues that folksongs communicate complex historical experiences in a seemingly simple package, and can thus be a key element—a sonic rhetoric—for interpreting the ebb and flow of cultural ideals within contemporary historical moments. He contends that the Lomaxes, aware of the power of folk music, used the folksongs they collected to increase national understanding of and agency for the subjects of their recordings even as they used the recordings to advance their own careers. Listening to the Lomax Archive gives readers the opportunity to listen in on these seemingly contradictory dualities, demonstrating that they are crucial to the ways that we remember and write about the subjects of the Lomaxes’ archive and other repositories of historicized sound. Throughout Listening to the Lomax Archive, there are a number of audio resources for readers to listen to, including songs, oral histories, and radio program excerpts. Each resource is marked with a ? in the text. Visit https://doi.org/10.3998/mpub.9871097#resources to access this audio content