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Producing-based Music Pedagogy: a Solution to the Problem of Authenticity inMusic Education?

a presentation for rock 'n' roles conference

Aleksi Ojala

on 9 October 2014

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Transcript of Producing-based Music Pedagogy: a Solution to the Problem of Authenticity inMusic Education?

Producing-based Music Pedagogy:
a Solution to the Problem of Authenticity
in Music Education?

One of the core practices of today’s popular music across the genre lines
(Rose 1994; Gracyk 1996; Butler 2006)
Music producing
In the context of music education:
includes the whole span of artistic-cultural processes of creation
The use of technical and psychological tools (Vygotsky 1978)
Producing-based music pedagogy
Technical tools:
E.g. acoustic, hardware and software instruments
Psychological tools:
E. g. instrumental skills, skills in music technology and musical formulas
Producing-based pedagogy is not genre related
The problem of authenticity in education
The dialectical relation between
Identity (Taylor 1991; Karlsen 2010) and
“Real-world” (Green 2008; Martin 2012)
Solution 1: The use of authentic technical and psychological tools in the classroom.
Solutions that producing-based pedagogy can offer
to the problems of authenticity

Solution 2: Authenticity of the learning community
Solution 3: The teacher as a producer (of learning)
Solution 4: Education as extension of the realm of authenticity
Inauthentic sounds of the classroom
Aspects of the problem of authenticity
in the context of music education
Broken pedagogies of “glocal” music cultures
The reality of the classroom
The role of the teacher
The role of mediation
standardization of musical tastes
“liquid texts”
Aleksi Ojala & Lauri Väkevä
Sibelius Academy
Thank you!
Butler, Mark J. 2006. Unlocking the Groove: Rhythm Meter, and Musical Design in Electronic Dance Music. Indiana University Press.

Folkestad, G. (2006). Formal and informal learning situations or practices vs. formal and informal ways of learning. British Journal of Music Education, 23, (2), 135–145.

Freire, P. (1970/2000). Pedagogy Of The Oppressed. New York: Continuum.

Elliot, D., J. (1995). Music Matters: A New Philosophy of Music Education. Oxford University Press.

Gracyk, T. (1996) Rhythm and Noise: an Aesthetic of Rock. Duke University Press.

Green, L. (2008). Music, Informal Learning and the School: A New Classroom Pedagogy. Aldershot: Ashgate.

Jorgensen, E. (1997). In Search of Music Education. Urbana and Chicago: University of Illinois Press.Karlsen, S. (2010).

Kant, Immanuel. (2003). On Education. Dover.

Karsen, S. (2010). BoomTown Music Education and the need for authenticity – informal learning put into practice in Swedish post-compulsory music education. British Journal of Music Education 27 (1), 35–46.

Lilliestam, L. (1996). On playing by ear. Popular Music, 15, (2), 195–216.

Martin, J. (2012). Toward authentic electronic music in the curriculum: Connecting teaching to current compositional practices. International Journal of Music Education.

Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press.

Taylor, C. (1991) The Ethics of Authenticity. London: Harvard University Press.

Vygotsky, Lev. 1978. Mind in Society: The Development of Higher Psychological Processes. Harvard University Press.

Väkevä, L. (2009). The World Well Lost, Found: Reality and Authenticity in Green’s ‘New Classroom Pedagogy’. Action, Criticism & Theory for Music Education, 8, (2). Retrieved June 10, 2009, from http://act.maydaygroup.org/ articles/Vakeva8_2.pdf
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