School students' immersion in a rich entertainment media environment has implications for classroom listening. Increasing interaction among media, design, games, communications and arts fields has led to a growing trend in the creative alignment of music and moving image. Video sharing sites such as YouTube are assisting in the proliferation and dissemination of such material, and are a source for the stimulation of creative and artistic activity from which music education can benefit. In this article I explore some of the possibilities of cross-media listening, which considers music from (variously) aural, visual, spatial and kinaesthetic orientations. Cross-media listening centres on visual musical works, pieces from moving image genres that are structured according to the codes, materials, devices and processes of music. Grounded in sound pedagogical principles and expounded through a series of analyses, cross-media listening advocates a reintegrated, multi-domain approach to encountering music in educational settings.
This chapter argues for the full, respectful curricular inclusion of Aboriginal and Torres Strait Islander music in order to promote a more balanced and equitable social and cultural vision of the nation-state in Australian schools. It challenges views that claim Indigenous cultures have been irretrievably lost or are doomed to extinction, as well as the fixation on musical authenticity. We propose that the gradual broadening of Indigenous musical expressions over time and the musical renaissance of the new millennium have created an unprecedented opportunity for current music educators to experience the educative power of Aboriginal and Torres Strait Islander music. This means that culturally nonexposed music teachers can employ familiar musical-technical approaches to the music even as they begin to more fully investigate the music’s cultural-contextual meanings. The chapter considers issues that impinge on the music’s educative power, especially those relating to its definition, its intended audiences, and pedagogies. It aims to help clear the way for the classroom to become an environment in which students can sense the depth and vitality of contemporary Australian Indigenous music.
This article identifies and explores an emerging tendency among Melanesians to reenvision their region for the present time. It examines a corpus of popular songs and accompanying videos produced over the last decade that promote regional identity, a phenomenon driven by four factors: diasporic experience as well as a general increase in mobility and global awareness; dissatisfaction with the ruling class; desire to counter negative portrayals of the region abroad; and deep concern over the deprivation of fellow Melanesians' rights to political autonomy. The article demonstrates that this reenvisioning of Melanesianism reiterates key themes of the region's seminal postcolonial thinkers, Epeli Hau'ofa, Walter Lini, Bernard Narokobi, and Jean-Marie Tjibaou; at the same time it develops the concept of wantok-ism and elaborates the idea of "one skin" or blackness as distinctive, thus turning the pejorative associations and experiences of being labeled the black "nesia" into a feature to celebrate. Analysis in the article is guided by a framework that considers the lyrical, musical, and visual devices through which musical Melanesianism is being articulated and projected: mapping, flagging, dancing, and vocality-devices from the "do-it-yourself kit" for performing regionalism.
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