Hybrid spaces and hyphenated musicians

Secondary Students' Musical Engagement in a Songwriting and Technology Course

Bibliographic Data

ID5769929
AuthorsEvan S Tobias (0000-0003-0360-7222, Arizona State University, corresponding author)
Year2012
Volume14
Issue3
Pages329-346
Publication date2012-05-31
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueMusic Education Research (JOURNAL)
Journal identifiersISSN: 1461-3808 • E-ISSN: 1469-9893
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.1080/14613808.2012.685459
OpenAlexW2162868789
LanguageEN
Citations received10
References cited32

This case study investigates how secondary students (three individuals and three groups) engaged with music and acted as musicians in a Songwriting and Technology Class (STC), a course involving the creation, performance, recording and production of original music with instruments and music technology. The following research question guided the study: In what ways are students engaging with music in the STC? Findings suggest that students engaged as 'hyphenated musician[s]' by thinking and acting as songwriters, performers, sound engineers, recordists, mix engineers and producers in ways that were recursive and often overlapping. Students' engagement in these roles was particular to their individual and group contexts. Music education might broaden curricular offerings and reconceptualise classrooms as hybrid spaces to address the shared and idiosyncratic ways of knowing and doing music that students encountered through each role and holistically as hyphenated musicians. Keywords: music educationsecondarytechnologypopular musiccurriculum Notes 1. All names included in this study are pseudonyms. 2. Excerpted from a curricular document created by Ron Wittwill. 3. Participants self-identified race/ethnicity in a demographic information sheet completed at the end of the study. 4. A current pre-requisite of a course involving students performing on keyboard, guitar, bass, vocals, drum kit or in a large ensemble context was not in place during the year of this study though many of the participants had formal and informal instrumental experience of varying degrees. 5. A session refers to the entire Pro Tools file, what I have been referring to as the 'track'. 6. This dynamic may change in the third- and fourth-year levels of the STC as Ron planned on having students perform mixes of other group's Pro Tools sessions to gain experience mixing a project that they had no role in the songwriting, performance or recording. 7. Pro Tools, which was used in the STC due to its presence in the music industry, may be expensive for some. Similar software programmes such as Anvil, Ardour, Garageband, Logic Express, Mixcraft, Reaper, Tracktion or web-based applications such as Aviary's Myna or IndabaMusic's Mantis are currently more affordable, free or open-source though in some cases more limited than Pro Tools and other advanced digital audio workstation applications

Guitar · Diverse Music Education Insights · Education and Technology Integration · Neuroscience and Music Perception

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