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Learning in and through Noise: Exploring the Learning Ecologies of Experimental Music.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Learning in and through Noise: Exploring the Learning Ecologies of Experimental Music./
Author:	Woods, Peter J.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	245 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-04, Section: A.
Contained By:	Dissertations Abstracts International82-04A.
Subject:	Music education. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28091828
ISBN:	9798672178448

Learning in and through Noise: Exploring the Learning Ecologies of Experimental Music.
Woods, Peter J.

Learning in and through Noise: Exploring the Learning Ecologies of Experimental Music. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 245 p.

Source: Dissertations Abstracts International, Volume: 82-04, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2020.

This item must not be sold to any third party vendors.

Over the past decade, a growing number of music education researchers have advocated for the educative benefits of experimental music curricula (see Sordahl, 20013; Tinkle, 2015) with a particular emphasis on free improvisation as a learning technology (see Hickey, 2009; Niknafs, 2013; Wright & Kanellopoulos, 2010). However, the scope of this ongoing project remains narrowly focused on a handful of experimental music subgenres, overlooking a wealth of related artistic traditions (e.g. noise music, Fluxus, musique concrete, no wave, etc.) that could both build a broad understanding of experimental music pedagogies or provide unique pedagogical spaces in their own right. Moreover, the vast majority of these studies focus on implementing these musical forms within formalized learning environments despite practitioners within these traditions learning primarily through informal channels (see Thomson, 2007). Transforming these musical forms into formalized curricula also runs the risk of undermining the educative potential of these genres through a process Popkewitz (2010) defines as alchemy, a detrimental shift verified within several music education studies (Lange, 2011; Mantie 2007).In response to these critiques, I use this dissertation to explore the informal learning ecologies of noise music, an abrasive and caustic subgenre of experimental music that draws influence from industrial, punk, free jazz, and electronic music (Bailey, 2009) and remains absent from music education research. After defining noise music (and noise as a musical gesture) through Kristeva (1982) and Bataille's (1970) notion of the abject, I present findings from a comparative case study (Bartlett & Vavrus, 2016) of the Milwaukee noise scene. In doing so, I frame both noise music and noise more broadly as liberatory educational technologies and construct a model for developing one's knowledge of and artistic practice within noise music. However, this case study also uncovers how the noise scene undermines this liberatory potential and reinscribes gendered forms of oppression. To ground these findings within the cultural space of noise music, I connect these findings to influential noise artists via analyses of performances and albums in a series of three addenda. Taken as a whole, this dissertation provides an initial step into understanding the potential value and existing problematics within contemporary noise scenes, framing noise music as both a powerful and oppressive learning ecology within the experimental music landscape.

ISBN: 9798672178448Subjects--Topical Terms:

3168367
Music education.
Subjects--Index Terms:

Cultural studies

Learning in and through Noise: Exploring the Learning Ecologies of Experimental Music.
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520 $a Over the past decade, a growing number of music education researchers have advocated for the educative benefits of experimental music curricula (see Sordahl, 20013; Tinkle, 2015) with a particular emphasis on free improvisation as a learning technology (see Hickey, 2009; Niknafs, 2013; Wright & Kanellopoulos, 2010). However, the scope of this ongoing project remains narrowly focused on a handful of experimental music subgenres, overlooking a wealth of related artistic traditions (e.g. noise music, Fluxus, musique concrete, no wave, etc.) that could both build a broad understanding of experimental music pedagogies or provide unique pedagogical spaces in their own right. Moreover, the vast majority of these studies focus on implementing these musical forms within formalized learning environments despite practitioners within these traditions learning primarily through informal channels (see Thomson, 2007). Transforming these musical forms into formalized curricula also runs the risk of undermining the educative potential of these genres through a process Popkewitz (2010) defines as alchemy, a detrimental shift verified within several music education studies (Lange, 2011; Mantie 2007).In response to these critiques, I use this dissertation to explore the informal learning ecologies of noise music, an abrasive and caustic subgenre of experimental music that draws influence from industrial, punk, free jazz, and electronic music (Bailey, 2009) and remains absent from music education research. After defining noise music (and noise as a musical gesture) through Kristeva (1982) and Bataille's (1970) notion of the abject, I present findings from a comparative case study (Bartlett & Vavrus, 2016) of the Milwaukee noise scene. In doing so, I frame both noise music and noise more broadly as liberatory educational technologies and construct a model for developing one's knowledge of and artistic practice within noise music. However, this case study also uncovers how the noise scene undermines this liberatory potential and reinscribes gendered forms of oppression. To ground these findings within the cultural space of noise music, I connect these findings to influential noise artists via analyses of performances and albums in a series of three addenda. Taken as a whole, this dissertation provides an initial step into understanding the potential value and existing problematics within contemporary noise scenes, framing noise music as both a powerful and oppressive learning ecology within the experimental music landscape.
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