Learning the ‘tracker’ process: A case study into popular music pedagogy

Anthony, Brendan; Thompson, Paul; Auvinen, Tuomas

doi:10.1386/jpme_00026_1

Cited by 3 publications

(2 citation statements)

References 26 publications

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“…It is no coincidence that to induce collaboration strategies in conservatory students, Vidal et al (2010) resorted to an open-ended task consisting of co-writing a piece of music in a group setting while also applying Green’s model of informal learning. Further proposals for open structures also exist, such as improvisation (Bruin, 2019) and online music production (Anthony et al, 2020).…”

Section: Conclusion and Discussionmentioning

confidence: 99%

The influence of musical production structures in group learning management

Baño¹,

Pozo

2023

Research Studies in Music Education

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Despite research indicating the advantages of collaborative learning, most formal music education continues to be in an individual format. However, collaborative strategies have been observed in other musical cultures. Through this research, we wished to study the differences in the management of group practices between three musical cultures (classical, modern, and flamenco), checking whether they originate in the formal/informal nature of their cultural tools or their mode of musical production. For this purpose, we analyzed three musical groups belonging to these three musical cultures. Each group comprised four musicians. Recordings of the rehearsal sessions and three dimensions of learning (outcomes, processes, and conditions) were categorically analyzed using the system for the analysis of instrumental learning developed by our research group. Chi-square and adjusted standardized residuals analyses demonstrated that the learning outcomes in each culture differed according to the cultural tool used (literacy, orality, or mimetic), but that the processes and social interaction differed according to the mode of musical production. The findings suggested that those who approach music from open production structures, such as modern musicians, are more collaborative than those who approach it from closed structures, such as classical and flamenco musicians. We conclude by reflecting on the origin of these production structures, highlighting the need to work from different modes of musical production in educational spaces.

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Section: Conclusion and Discussionmentioning

confidence: 99%

The influence of musical production structures in group learning management

Baño¹,

Pozo

2023

Research Studies in Music Education

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“…In the UK, songwriting has been a feature of the PME curriculum for some time now but pop music songwriting and production is still a burgeoning area with a limited number of studies specifically employing contemporary models of songwriting in the classroom (Butler 2014;Bell 2020;Moir & Medbøe 2015;Bennett 2015;Söderman & Folkestad 2006;Gooderson & Henley 2016;Marrington 2016;Anthony, Thompson & Auvinen 2020). A distinct concern within all of these studies is how classroom-based assessments can make the connection to a realistic scenario that songwriters would usually be presented with in the industry, whilst also allowing students to develop their skills and knowledge within a safe and supportive learning environment.…”

Section: Introductionmentioning

confidence: 99%

Creativity and Education

Thompson,

Harding

2023

IASPM Journal

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Formal popular music education (PME) faces a number of challenges; not least how to sufficiently engage learners in creative tasks that help to develop their skills and knowledge, whilst at the same time preparing them for employment in the: ‘ever-changing dynamic of the industries they hope to work in’ (McIntyre et al, 2016, p. 2). The following study draws upon data gathered during a Practice Based Enquiry (PBE) and the specific context of teaching pop music songwriting and production is explored through the application of the ‘Service Model’ for Pop Music, Creativity and Commerce by an experienced pop music producer undertaking the role of researcher and ‘ETL’ (ETL). Importantly, it it illustrates how to engage learners within an industry-style creative task and shows how the team leader’s role can help to give students important access to the social interactions of the field throughout the process.

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Learning the ‘tracker’ process: A case study into popular music pedagogy

Anthony

Thompson

Auvinen

2020

Journal of Popular Music Education

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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications.

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Learning the ‘tracker’ process: A case study into popular music pedagogy

Cited by 3 publications

References 26 publications

The influence of musical production structures in group learning management

The influence of musical production structures in group learning management

Creativity and Education

Learning the ‘tracker’ process: A case study into popular music pedagogy

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