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Teaching popular music as embodied k...

Snell, Karen.

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Teaching popular music as embodied knowledge: A phenomenological model of music teaching and learning.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Teaching popular music as embodied knowledge: A phenomenological model of music teaching and learning./
Author:	Snell, Karen.
Description:	300 p.
Notes:	Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0546.
Contained By:	Dissertation Abstracts International69-02A.
Subject:	Education, Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR36744
ISBN:	9780494367445

Teaching popular music as embodied knowledge: A phenomenological model of music teaching and learning.
Snell, Karen.

Teaching popular music as embodied knowledge: A phenomenological model of music teaching and learning. - 300 p.

Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0546.

Thesis (Ph.D.)--The University of Western Ontario (Canada), 2007.

Keywords: phenomenology, embodied knowledge, synaesthesia, lived experience, music education, informal learning practices, popular music, enculturation, copying recordings, group learning.

ISBN: 9780494367445Subjects--Topical Terms:

1017808
Education, Music.

Teaching popular music as embodied knowledge: A phenomenological model of music teaching and learning.
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100 1 $a Snell, Karen. $3 1285690
245 1 0 $a Teaching popular music as embodied knowledge: A phenomenological model of music teaching and learning.
300 $a 300 p.
500 $a Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0546.
502 $a Thesis (Ph.D.)--The University of Western Ontario (Canada), 2007.
520 $a Keywords: phenomenology, embodied knowledge, synaesthesia, lived experience, music education, informal learning practices, popular music, enculturation, copying recordings, group learning.
520 $a In order to be a relevant and influential part of the musical and socio-musical development of more students in today's classrooms, music educators need to incorporate aspects of music (and especially popular music) that are applicable to the lives of today's young people outside of school. In doing so, bridges can be built between the now very separate musical worlds of contemporary North American youth. These connections, however, will not be established simply through the incorporation of popular music genres into current curricular content and teaching practices, because, as Wayne Bowman (2000) argues, music education also needs to move away from "the very disembodied kind of knowing which is . . . currently predominant in our educational institutions" (p. 50). As a prospective solution to this problem, this dissertation explores the potential of entire musical practices, including the ways that musicians learn, as essential components of teaching and learning music in schools. This way, the emphasis is on the authentic reproduction of the learning processes of real-life musicians, rather than on the products .
520 $a Drawing on the work of Lucy Green (2006, 2002), Ruth Finnegan (1989) and others, the informal learning processes of popular musicians are explored and related to several key ideals from the field of phenomenology . By approaching teaching and learning popular (and other) music as inherently embodied and synaesthetic practices white emphasizing the importance of lived experiences, phenomenology can offer an alternative to some of the more traditional transmission models of music education. Furthermore, a phenomenological approach to music teaching and learning lends itself especially well to many informal learning practices in the world of popular music such as extensive listening and copying of recordings, and peer/group learning through performing, improvising and composing. Unfortunately, few music educators use such strategies in schools. If they did, they could be serving a larger proportion of today's youth by valuing young people's musical experiences and knowledge with popular music. Phenomenology, when coupled with popular music genres and learning practices, has the potential to provide North American school music with a much needed path for growth and development in contemporary society.
590 $a School code: 0784.
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710 2 $a The University of Western Ontario (Canada). $3 1017622
773 0 $t Dissertation Abstracts International $g 69-02A.
790 $a 0784
791 $a Ph.D.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR36744