Music Production Cultures Perspectives on Popular Music Pedagogy in Higher Education
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.
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
"Brendan Anthony has produced a visionary, forward-thinking book which is not only fascinating, entertaining, and highly readable, but also rigorously academic. Drawing from an amalgam of professional experience across the music industry and higher education divide, he has woven a detailed and erudite research project through the two. A quite brilliant achievement which I hope will be a landmark in how higher education and industry work for popular music production in the future."
Professor Lucy Green, UCL Institute of Education, London, UK
"In this exciting new book, Brendan Anthony presents a timely and detailed student-centred exploration of teaching and learning in popular music production, engaging producers, performers and professors as he weaves together expert pedagogical advice and profound insights from both sides of the glass."
Dr Gareth Dylan Smith, Assistant Professor Music, Music Education, Boston University, USA
"Brendan Anthony has made a significant contribution to the world of pedagogical music production practice with this volume of work that will be celebrated by educators internationally. This authoritative work has been written from both the perspective of an academic and a working practitioner. It provides an insightful and much needed view of what goes on behind the glass from the lens of an educator and highlights the key issues for academics and students working in the field. The field of music production continues to develop from both technical- and cultural-perspectives that explore both the creation of the technology, its use, and the approach of musicians and record producers and how they create work in the studio. This important text and much needed work will fill a gap in the literature in terms of how we frame popular music production methods from pedagogical and cultural perspectives."
Professor Andrew King, Head of School of the Arts, University of Hull, UK