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Serious vs Popular

Serious vs Popular. CFA MU 777 OL Music Education I: Philosophy and History of Music Education Vicky Boucher. Serious vs Popular. Definitions and connotations History and validity Impact on music education Recommendations. Serious Music. Art music  Classical music.

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Serious vs Popular

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  1. Serious vs Popular CFA MU 777 OL Music Education I: Philosophy and History of Music Education Vicky Boucher

  2. Serious vs Popular • Definitions and connotations • History and validity • Impact on music education • Recommendations

  3. Serious Music

  4. Art music  Classical music Folk music Romantic, Folk, Popular, Modern  Contemporary Serious Music Classical + Romantic +=Serious music

  5. Popular Popular Music

  6. PopularMusic • Mass audience • Short “life spans” • Simple forms and structure Mass-disseminated music of recent centuries. The 18th and 19th centuries saw the development, chiefly in Europe and America, of a genre distinct from both folk and classical or art music. It differed from the form in being composed and notated and in developing a musical style not distinctive of a certain region or ethnic group. Though many early pieces of popular music shared general features with classical music of the day, they were briefer and simpler, making fewer demands on both performer and listener. – The New Harvard Dictionary of Music

  7. Serious vs PopularConnotations their music elitist upper class older people then requiring subsidy our music populist lower class younger people now commercial

  8. Opera

  9. What’s Opera, Doc?

  10. Apocalypse Now

  11. Jazz and beyond Ragtime Blues

  12. Music lies on a spectrum Serious music is used in pop culture Popular music has the potential to be serious music The lines that are drawn between styles are generally arbitrary and self-serving

  13. Serious vs PopularConnotations our music populist lower class younger people now commercial their music elitist upper class older people then requiring subsidy

  14. Music Education • Student disconnect • Teacher bias

  15. Recommendations • Start with what they know • Mix relevance with history • Use popular music and serious music interchangeably to teach concepts • Eliminate the global use of the term “classical music”

  16. References Blacking, John. 1981. Making artistic popular music: The goal of true folk. Popular Music 1: 9-14. Booth, Gregory D. and Terry Lee Kuhn. 1990. Economic and transmission factors as essential elements in the definition of folk, art, and pop music. The Musical Quarterly 74, no. 3: 411-438. Elliott, David J. 1995. Music matters: A new philosophy of music education: Oxford University Press. Gorbman, Claudia. 1987. Unheard melodies: Narrative film music. Bloomington, Indiana: University Press. Griffiths, Dai. 1999. The high analysis of low music. Music Analysis 18, no. 3: 389-435. Hamm, Charles. 1986. Popular music. In The new harvard dictionary of music, ed. Don Michael Randel:646-649. Cambridge, Mass.: Harvard University Press. Lowe, Melanie. 2002. Claiming amadeus: Classical feedback in american media. American Music 20, no. 1: 102-119. MacCluskey, Thomas. 1979. Peaceful coexistence between pop and the classics. Music Educators Journal 65, no. 8: 54-57. Parakilas, James. 1984. Classical music as popular music. The Journal of Musicology 3, no. 1: 1-18. Rieger, Jon H. 1973. Overcoming the phoniness/stuffiness/jeweled-dowager syndrome with young people. Music Educators Journal 59, no. 9: 29-32. Ross, Alex. 2003. Rock 101: Academia tunes in. The New Yorker. ________. 2006. 2006 school of music convocation address. Northwestern University. Sweeney-Turner, Steve. 1994. Trivial pursuits? Pop music: Is it serious to be silly? Asks steve sweeney turner. The Musical Times 135, no. 1814: 216-219. Witkin, Mitzi. 1994. A defense of using pop media in the middle-school classroom. The English Journal 83, no. 1: 30-33.

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