Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

Narrative in the music of Jay Chou : a case study of music, globalization and semantics

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Beyond a constructivist curriculum : a critique of competing paradigms in music education

The distinction between learning to perform on an instrument or voice and learning music in a wider sense is one that is made in many countries, and is especially pertinent in England in the context of recent policy developments. This article argues that, whilst this distinction has come to represent curricula based on the opposing paradigms of behaviourist and constructivist approaches to learning, this opposition does not necessarily extend to the pedagogy through which the curricula are taught. A case study of the National Curriculum in England highlights the characteristics of a curriculum based on constructivist principles, along with the impact this has when taught in a behaviourist way. It is argued that conceiving the curriculum in terms of musical competencies and pedagogy in terms of musical understanding would provide a basis for greater continuity and higher quality in the music education experienced by young people.

Changes in music tempo entrain movement related brain activity

The neural mechanisms of music listening and appreciation are not yet completely understood. Based on the apparent relationship between the beats per minute (tempo) of music and the desire to move (for example feet tapping) induced while listening to that music it is hypothesised that musical tempo may evoke movement related activity in the brain. Participants are instructed to listen, without moving, to a large range of musical pieces spanning a range of styles and tempos during an electroencephalogram (EEG) experiment. Event-related desynchronisation (ERD) in the EEG is observed to correlate significantly with the variance of the tempo of the musical stimuli. This suggests that the dynamics of the beat of the music may induce movement related brain activity in the motor cortex. Furthermore, significant correlations are observed between EEG activity in the alpha band over the motor cortex and the bandpower of the music in the same frequency band over time. This relationship is observed to correlate with the strength of the ERD, suggesting entrainment of motor cortical activity relates to increased ERD strength

Enhancing students' experience in music composition through music notation software

A project was undertaken in a Hong Kong primary school to investigate the role of music notation software in leaching music composition. The project was divided into three stages. During the first stage, appropriate hardware equipment and software applications were installed in the school music room, and four teaching plans were developed on the models and strategies derived from findings in the local and international literature. During the second stage, these teaching plans were implemented in Grade One, Grade Three, Grade Five and Grade Six classes of the school. During the third stage, the effectiveness of these teaching activities was evaluated by comparing the experiences from the second stage to the corresponding findings from similar projects undertaken in other Hong Kong primary schools, as well as to findings from the international literature. The results demonstrated that tile visual and audio stimulation created by computer"based technology can motivate students to successfully engage in music composition. Moreover, computer"based technology provides an opportunity for students to compose music in an atonal idiom. However, a large number of students were unable to demonstrate the concept of structural design in their musical products, and one of the findings from this investigation was that teachers need to be more purposeful in their teaching by directing students to employ the technique of repetition of interesting musical fragments or phrases in order to achieve a sense of unity in their pieces.

Home, school, community and their role in the provision of music education

The Department of Education, Science and Training (DEST), is supporting under the Australian Government Quality Outcomes Programme, a National Review of School Music Education. The review, which is intended to submit its report in mid 2005, is interested in investigating the current quality of teaching and learning of music in both primary and secondary schools. It aims to provide examples of best practice of teaching and learning of music, along with a set of recommendations for the development of future approaches and directions to improve the quality of music education offerings in Australian schools. This paper puts forward some proposals for consideration that will be forwarded to the Review and aims to generate debate about future approaches to the delivery of music education in Australian primary schools.
It argues that the home, school and community all have an important part to play in the music education of children, but that at present these three entities are insufficiently connected on a number of fronts, not least being an understanding about the purpose of young people’s engagement with music. There is no doubt that interest in the arts amongst Australians generally is high. A recent Australia Council report revealed that 85 per cent of its respondents agreed the arts are and should be an important part of the education of every young Australian and that what was needed was better arts education and opportunities for all young people. However, the opportunities need not be confined to those offered by the school sector. Engagement with out-of-school music includes both music encountered in the home, which may be affected by family influence, and music provided by the diversity of community organizations, which serve a real and complimentary role to classroom learning and achieve learning outcomes that schools often do not have the resources to foster. A number of proposals for action are suggested for consideration by those involved in education as a means of progressing the discussion. It asserts that there is much valuable activity occurring within the three locales of school, home and community, but a firmer relationship could be forged across all three to ensure young people’s on-going, life-long enjoyable engagement with music.

“Through a glass darkly” : a report on trends in school music education provision in Australia

This paper reports on research commissioned by the Music Council of Australia (MCA) on the provision of school music education in Australian states and territories. Using guidelines developed by the principal researcher, a team of state and territory investigators collected data on eleven research questions formulated by MCA’s Research Committee. The principal investigator compiled, analysed and interpreted the state data and synthesised the findings into an overview of
the current situation nationally. One of the major findings was the limited amount of uniform data available from education authorities; indeed, the inadequacy or non-availability of data from some states is a matter of serious concern in terms of public accountability for the school music provision. Nevertheless, the project provided an overview of the current state of school music education in all states and territories. In relation to three of the key indicators (numbers of specialist music teachers, numbers of students taught music, and numbers of students studying music at Year 12), the study revealed that the provision of music has not changed significantly over the past two decades—the situation has either remained static or has improved or declined slightly. The principal recommendation from the project is the need for a more comprehensive survey to be undertaken and a Deakin University team, in collaboration with the MCA as industry partner, will be applying for an ARC Linkage Grant which will investigate effective teaching of music in schools and the preparation of teachers for implementing music programs.

Empowering Australian students in African music: experiential education in primary teacher training

Luckman (1996) defines experiential education as a "process through which a learner constructs knowledge, skill and value from direct experience" (p. 7). The core of such learning is practical engagement, contextualised by concepts and skills in guided experiences. This process, to be most effective, should be supported by reflection. This paper considers an experiential program in African music that is part of pre-service primary teacher education for generalist teacher trainees. As part of the Bachelor of Primary Education degree, offered by Deakin University (Australia) students can select an elective subject on African music in the final year of their four-year course. In this subject students learn African music experientially, by playing, singing and moving. These students completed a questionnaire and were interviewed at the conclusion of the unit in 2003. Data collected showed the effectiveness of using an unknown music to explore musical concepts and understandings in an Australian educational setting.

Celebrating the use of African music : change in motion

I undertook a research project regarding the use of African music at both primary and secondary school level with Victorian teachers in Melbourne in 2004. This study grew out of my first project, which examined the effectiveness of using African music with non-specialist primary teacher education students at Deakin University, Melbourne (see Joseph, 2002, 2003). In this paper the concept of 'change' in relation to teaching and learning is explored regarding practising teachers’ teaching and learning of African music in Australian schools. According to Campbell (2004), a guiding principle for shaping educational experiences designed to promote students’ musical and cultural understanding is for teachers to make music both meaningful and useful in their lives. She further contends that such an experience can 'come alive' for students if teachers promote active involvement for them as music listeners as well as makers of music. This paper discusses some of the findings in relation to why and how teachers are engaging with African music and what their students are learning from it. It may be argued that both students (Deakin University student project) and teachers (Victorian music project) perceived African music to be an effective way to transmit and engage with a 'new music and culture'.

Taking stock of school music education in Victoria: the lessons of history in the present context of the national review

The National Review of School Music Education represents a unique opportunity to identify and find solutions to some of the very long-standing problems in Australian school music education, particularly in the government school sector. This paper is based on the premise that there are lessons to be learned from the over 150 years of music education in Victorian government schools and that it is only by considering the current status, provision and quality of school music from an historical perspective and resolving emergent issues that effective and worthwhile music education can be provided for future generations of Australian students. Developments in school music education since the 1850s are discussed and analysed in terms of the present-day issues to be addressed by National Review and a number of mutually-dependent factors are identified as combining to produce almost cyclic patterns of ebb and flow in the status, provision and quality of music education in Victoria. The paper identifies several such factors requiring immediate attention including the inadequacy of generalist primary teacher education in music, what has effectively become the extra-curricular status of music in many government schools, and the more recent problems associated with 'the over-crowded curriculum' and the emergence of The Arts as the generic Key Learning Area in which Music now finds itself as just one of many arts disciplines. The paper concludes by making three key recommendations for consideration in the context of the current National Review of School Music Education.

The blind men and the elephant : music education in a changing world

Education provides unique opportunities for individuals to develop their full character as Australian citizens who can play a part in the shaping of the future. All educational settings have an important role to play in bridging differences and promoting mutual respect, tolerance and understanding between people of different races, cultures, and religions. The curriculum is one component of the wider educational milieu that should be 'an enabling mechanism that nurtures adjustment to change, and simultaneously provides a roadmap of expectation' (Bruniges, 2005, p.15). As the rate and diversity of both local and global change accelerates, education continues to be faced with a multiplicity of challenges. The ways in which we respond to this will influence both the society and the curriculum that we design, implement and evaluate. Currently music educators implementing the Victorian Essential Learning Standards (VELS) are faced with the challenge of developing multicultural practices that align with both curriculum initiatives and create authentic experiences for students. As in the well-known story of the blind men and the elephant, teachers are faced with resources that offer only a shallow introduction to what is a multifaceted field. The question we pose is: 'How do educators embrace a vast range of cultural and social dimensions in our school music programmes without being like a blind man, grasping only one perspective of an extensive and complex whole?'

National report on trends in school music education provision in Australia

"The focus of the project was identified by the Research Committee of the Music Council of Australia as being to provide factual information about designated trends in the provision of school music education in Australia, with possible use of this information in a national campaign in support of music education in Australian schools by the Music Council of Australia."

Ethnomusicological study of music makers in an Australian military band

This dissertation reports on a study of music making in a band of the Australian Army Band Corps. The thesis of the dissertation is how the world views of the soldier-musicians of the Australian Army Band, Kapooka, are constructed in the context of their work in military music performance. In arguing this thesis, the author provides a brief history of military music in Australia, and - demonstrates how rank and military discipline intersect with music making in the lived experience of the soldier-musicians; - explores how the dichotomy between music making as a craft and music making as art is resolved in a setting where the employer regards music making as a trade, while the soldier-musicians strive to meet artistic goals; - demonstrates how successful music making and successful soldiering are both forms of work which depend upon effective collective action; - demonstrates that while military bands play the widest repertoire of musical styles of any Western music ensemble, the styles converge toward a homogenous, eclectic, military band performance style: and - explores how military music, which may have limited intrinsic interest, in certain ceremonial settings may link with other visual and auditory symbol systems to generate profound meaning both for the soldier-musicians themselves and for their audiences. The study examines the processes by which the world views of soldier-musicians are shaped by the institutional context in which they work, as they participate in a music tradition which has been a powerful agent in the shaping of Australian patriotic traditions. The study uses a naturalistic participant observation methodology. The author worked as an honorary guest civilian member of the band’s trombone section to collect data in the form of fieldnotes and interviews. Data analysis and interpretation was made according to the tenets of grounded theory. Evidence in the form of first hand accounts from the perspective of the researcher and from the soldier-musicians themselves is employed to generate both emic and etic understandings. An understanding of a music culture from the participant's point of view is a central concern of the study.

Many layers of meaning : multicultural music education in Victoria, Australia

This paper explores music education viewed through lenses of cultural identity and the formation of personal identity in contemporary, multicultural Victoria, Australia. The people of this state come from more than 280 countries, speak more than 240 languages and follow more than 120 faiths. Our population diversity is constantly changing which challenges music educators to respond to classroom demographics and as tertiary educators we prepare our pre-service students to become culturally responsive teachers. As music educators, we occupy and are situated in multiple identities that shape the ways in which we experience and understand music and its transmission. As Australian tertiary music educators, we explore pre-service teacher cultural identity, attitudes and values about the inclusion of multicultural music in the classroom where cultural dialogue provides a platform for the construction of meaning. While marginalization and diversity occurs within multifaceted forms, we question: What music do we present in contemporary Victorian schools? Why do we make these choices? How do we present this music? This consideration, contextualized within the curricular framework, addresses issues of access, equity and community engagement. The making of meaning in shared cultural experiences contributes to the formation of identity which is a fluid and multilayered construct.

The role of the music therapist in promoting parent infant attachment

Abstract
This paper provides a brief overview of recent literature relating to infant musicality and its basis for effective parent-infant work in music therapy. Two strong trends are revealed: the international breadth of the developing work by music therapists within family-centred contexts of practice, especially work with infants and their parents in the early years; and the use oftheoretical principles of communicative musicality (Malloch &Trevarthen, 2008] combined with knowledge of early musical skills. This focus on musical perception and musical development (Briggs, 1991; Trehub, 2003] provides a rationale as to why musical interaction supported by a qualified music therapist can offer a potential pathway for improved attachment between the parent and infant when therapeutic support is indicated.