Parallel, series, and integrated: Models of tertiary popular music education
Carfoot, Gavin, Millard, Bradley, Bennett, Samantha, & Allan, Christopher (2017) Parallel, series, and integrated: Models of tertiary popular music education. In Smith, Gareth Dylan, Moir, Zack, Brennan, Matt, & Kirkman, Phil (Eds.) The Routledge Research Companion to Popular Music Education. Routledge, London, pp. 139-150.
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A wide range of tertiary institutions offer popular music curricula, from those with well-established Western art music traditions, through to those specifically focused on popular music education. Various scholarly studies of learning and teaching have documented and developed new approaches to pedagogy, curriculum and assessment, such as those by Green (2001), Lebler (2007, 2013) and Smith (2013). However, due to the fact that most of these studies are based in singular programmes or departments, few have been able to provide broad, multi-institutional analysis and critique of popular music education practices, perhaps with the exception of the UK-based report by Cloonan & Hulstedt (2012). Different institutional contexts may include a range of factors that impact upon learning experiences and outcomes for students, such as: the overall vision and objectives of the institution and programme; departmental history and context; whether the programme includes popular music education alone, or is delivered in combination with other areas of music; the degree to which learning and teaching practices are embedded in established models, or are by informed by pedagogical developments and innovations; and ways in which the background, orientation and attitudes of faculty members can shape pedagogy.
This chapter provides a comparative examination of these issues, conceived via three main models: parallel, series, and integrated. Examples from within the Australian tertiary sector are presented for each model, from Queensland Conservatorium Griffith University (QCGU), Queensland University of Technology (QUT), Australian National University (ANU) and University of Newcastle (UoN). Each example refers to different three-year specialist Bachelor of Music (BMus) programmes, or programmes that have developed into a BMus from precursors in a more generalist Bachelor of Arts (BA) structure. The institutional contexts mentioned may resonate with UK- and US-based programmes, although these international relationships can be complex (Mantie 2013). Nonetheless, comparison of the examples can contribute to our understanding of institutional issues that popular music education has faced – and may continue to face – in changing tertiary environments.
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|Item Type:||Book Chapter|
|Keywords:||music, integration, institutions, curriculum, assessment, learning, HERN|
|Subjects:||Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000) > PERFORMING ARTS AND CREATIVE WRITING (190400)|
|Divisions:||Current > QUT Faculties and Divisions > Creative Industries Faculty
Past > Schools > School of Media, Entertainment & Creative Arts
|Copyright Owner:||Copyright 2016 Taylor & Francis|
|Deposited On:||08 Jun 2016 22:35|
|Last Modified:||08 Feb 2017 22:37|
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