Music Production Cultures draws on interviews with international educators, surveys completed by students of music production from around the globe, doctoral research findings and contextualised career experiences from the author as a celebrated music producer to explore how effective learning environments can be created for popular music production in higher education.
Acknowledging the musical, technological and social diversity in global popular music production practice, this book highlights the integral elements that educators and their institutions must consider in order to provide high-quality and relevant education for the students of today and into the future. Offering concepts, approaches and practices to be integrated into diverse music production pedagogical frameworks in higher education, this book considers the pedagogical approaches and goals that bridge music production education to the industry, using examples and insights from international educators throughout as well as lesson plan examples for instructors.
Music Production Cultures develops a foundation of practice to inform teachers designing equitable, diverse and inclusive pedagogies that are dependent on the musical, cultural and social influences of their students. This is an invaluable resource for educators and researchers in the area of audio education looking to develop their pedagogical strategies.
Author(s): Brendan Anthony
Series: Perspectives on Education in Audio & Music Production
Publisher: Routledge/Focal Press
Year: 2022
Language: English
Pages: 319
City: London
Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of Figures
List of Tables
Foreword
Author’s Preface: “Breaking the Glass”
Acknowledgements
Introduction: Music production cultures and rationale
Part 1 Modern popular music production skills, practices and processes
1 Music production skills and creative practice
2 Popular music production processes (Part A). Cognition, popular music production agency and socio-musical concepts
3 Popular music production processes (Part B). The manifestation of recorded works
4 Songwriting and production
5 Music production subjectivity and creativity
Part 2 Popular music production pedagogy that bridges to the real world
6 What is the real world?
7 Popular music production learning approaches
8 The places and spaces of popular music production pedagogy
9 The cohort (both sides of the glass)
Part 3 Pedagogical approaches
10 Popular music production pedagogy—an engagement with diverse music production cultures
11 Learning frameworks
12 The music
13 The educator’s role
14 Practice-based pedagogical applications
15 Collaboration and creativity in popular music production pedagogy
16 Learning popular music production
17 Class targets
18 Assessment
19 Student accountability and educator mentorships
Part 4 Pedagogical timeline, graduate considerations and summary
20 Student progression and graduate futures
21 Pedagogical summary and challenges
Appendix A The doctoral case study
Appendix B Useful lecture and tutorial content
Appendix C International student survey questions
Index
