Conceptions of teaching in and through noise: a study of experimental musicians’ beliefs

Woods, Peter J.

doi:10.1080/14613808.2019.1611753

Cited by 8 publications

(10 citation statements)

References 21 publications

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“…Although these sites of research do not always perfectly embody posthuman worldviews, since definitions of posthumanism often rely on and unintentionally reproduce humanist ideologies (Snaza et al, 2014), they still provide an enactment of posthumanism to explore and critique To this end, I propose the use of noise music as a site of research into posthumanist forms of collaboration and, subsequently, education. I do so in part because noise musicians already conceptualize the act of teaching within the noise music genre as a distributed and posthuman practice, one that redefines the role of the teacher to include not only other musicians but technologies in the form of musical instruments and traditions (Woods, 2019).…”

Section: The Noise Of Posthumanismmentioning

confidence: 99%

Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Woods

2020

Journal of Curriculum and Pedagogy

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While education research has largely avoided posthumanist scholarship, this analytic lens challenges the ways in which researchers have conceptualized educational technologies, i.e. collaboration and embodied learning, as primarily humanist endeavors that overtly center on human subjects within educational processes. By exploring sites of research that overtly enact posthumanist conceptions of learning, education researchers can address this oversight. In this article, I investigate posthumanist collaboration within the noise music genre, positioning noise music as a posthuman musical tradition and, in turn, a posthuman educational context. In doing so, I reframe noise (in the broad sense of the term) as a tool for engaging the posthuman through multiple educational praxes both in and outside of this specific genre. To construct this argument, I place extant literature on posthumanism and noise in conversation with descriptions of performances from the 2017 Experimental Education Series, a quarterly workshop and concert series that features a broad spectrum of noise musicians, and interviews with teaching artists from this series.Through this constellation of texts, I advocate for noise music to not only serve as a site for future research but as a potential model of posthuman education more broadly.

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Section: The Noise Of Posthumanismmentioning

confidence: 99%

Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Woods

2020

Journal of Curriculum and Pedagogy

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“…Of particular importance for this paper, extant studies have defined experimental music scenes as CoMPs (P. J. Woods, 2019. According to Perry (2011), individuals within these music scenes start as legitimate peripheral participants by contributing to their local music scene as fans and audience members.…”

Section: Communities Of Musical Practicementioning

confidence: 99%

“…Furthermore, experimental music provides a particularly valuable site for research into the anti-racist pedagogies of CoMPs because experimental musicians already conceptualize teaching in part as a practice of shaping the community itself (P. J. Woods, 2019). However, participants in CoMPs often fall short of their own ideological aims in practice (P. J Woods, 2017).…”

Section: Toward An Anti-racist Pedagogy Within Experimental Music's Compmentioning

confidence: 99%

“…Although my identity shapes my perspective in ways both seen and unseen, I also take care to foreground both criticality and the voices of others in my work as a researcher, musician, and musical organizer (P. J. Woods, 2017Woods, , 2019Woods, , 2023. I therefore approach this particular study with a recognition of my own position within the broader discourse around experimental music's relationship to white masculinity, years of lived experience in this CoMP, and an invested interest in learning how to counteract white supremacy alongside my study participants.…”

Section: Positionality Statementmentioning

confidence: 99%

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Conceptualizing Anti-Racist Pedagogies Within Experimental Music's Community of Practice

Woods

2023

Adult Education Quarterly

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Despite communities of practice (COPs) literature asserting the importance of attending to power dynamics within these learning contexts, research has largely ignored the process of racialization within COPs and, in particular, the role anti-racist pedagogies play within these spaces. In response, I present findings from an instrumental case study to address the following research question: how do participants in an experimental music community conceptualize anti-racist pedagogies within their COP? Building on Kenny’s notion of communities of musical practice, my analysis shows that the board members and employees of the experimental music venue at the center of this study recognize opportunities to challenge white supremacy and build critical understandings of racialization across all three of Wenger’s dimensions of COPs: mutual engagement, joint enterprise, and shared repertoire. This study therefore provides a potential framework for future studies into anti-racist pedagogies within informal adult education.

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“…Overall, this view points to a different conception not only of music but also of education. A conception linked to experimental music and to its educational potential (Tinkle, 2015;Woods, 2019;), a more, open, "democratic" understanding not only of what is considered as "music for children", but even more specifically, of what counts as musical material, and that, as Hill (2018) what is not musical, emancipating "sound from narrow definitions of 'music' and limited conceptions of what makes music 'good' or 'right'" (p.50).…”

Section: The Idea Advocated By Henrique and Gustavo Was Also Clearly mentioning

confidence: 99%

Rethinking experimental music within music education: Thoughts and feelings after a voyage through the Project INsono

Veloso

2020

Rev Elec LEEME

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This paper tells the story of INsono, an interactive sound installation and workshop created by a group of musicians for the 6th edition of the Big Bang in Lisbon, Portugal. To tell this story I will present my findings throughout a narrative that evolves through the analysis and interpretations of interviews with the musicians and the curator of the Big Bang Lisbon, field notes taken during the creation and the presentation of INsono, and group interviews with children about their lived experiences during the workshop. Describing the process that led to the creation of the final sound installation, I will explore, on one side, what were the main concerns and ideas of the musicians and the curator of the festival in what regards concepts such as education, childhood, music, and art, and, on the other, the perspectives of children that participated in the workshop on their experiences of INsono. This will, hopefully, lead us to a discussion where we might rethink the potentialities of experimental music in both formal and non-formal contexts of learning; moreover, it might lead us also to look at the dynamics, strategies and tools that are used in non-formal contexts as a source of inspiration to reflect on pedagogical approaches in the classroom that might enrich the musical and artistic experiences of children.

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Conceptions of teaching in and through noise: a study of experimental musicians’ beliefs

Cited by 8 publications

References 21 publications

Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Conceptualizing Anti-Racist Pedagogies Within Experimental Music's Community of Practice

Rethinking experimental music within music education: Thoughts and feelings after a voyage through the Project INsono

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