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Tobias, E. S. (2013). Toward convergence: Adapting music education to contemporary society and participatory culture. In this article, he points out that learning about contemporary music cultures and knowing how students engage with out-of-school music can help evolve music educators. Tobias gives a table of 11 different ways of how many people interact with popular music. Some examples include making covers and arrangements with technology, remixing, and creating tutorials.
Tobias, E. S. (2013). Toward convergence: Adapting music education to contemporary society and participatory culture. In this article, he points out that learning about contemporary music cultures and knowing how students engage with out-of-school music can help evolve music educators. Tobias gives a table of 11 different ways of how many people interact with popular music. Some examples include making covers and arrangements with technology, remixing, and creating tutorials.
Tobias, E. S. (2013). Toward convergence: Adapting music education to contemporary society and participatory culture. In this article, he points out that learning about contemporary music cultures and knowing how students engage with out-of-school music can help evolve music educators. Tobias gives a table of 11 different ways of how many people interact with popular music. Some examples include making covers and arrangements with technology, remixing, and creating tutorials.
contemporary society and participatory culture. Music Educators Journal, 99(4), 29-36. doi: 10.1177/0027432113483318 Tobias values contemporary music, even his previous article, From Musical Detectives to DJs: Expanding Aural Skills and Analysis Through Engaging Popular Music and Culture also touches on the involvement of popular music. In this article, he points out that learning about contemporary music cultures and knowing how students engage with out-of-school music can help evolve music educators. There are many different ways that people know and do music and the music education from K-12 represents a narrow range of that. Tobias uses Henry Jenkins to define participatory culture; he uses key points such as low barriers to artistic expression and informal mentorship. He also gives a table of 11 different ways of how many people interact with popular music. Some examples include making covers and arrangements with technology, remixing, and creating tutorials. Adding on to this, there are many people who make a living simply by posting covers/arrangements/originals on YouTube. Today, technology makes it very easy to make covers and engage in popular music. As mentioned in previous papers, a friend of mine (Chris) is highly involved in the contemporary culture of popular music. He uses a lot of technology because he composes electronic music and posts them on Soundcloud.com. Contemporary musical practices are not limited for only pop music. Tobias mentions that the Berlin and Brooklyn Philharmonics hosted remix contests of Mahlers 1st Symphony and Beethovens 9th Symphony. Another example is Eric Whitacre: he used social media and technology to produce his Virtual Choir. I took part in his choir and he made it very easy for us: we simply had to record ourselves singing whatever part (I sang soprano I and II) and his crew did the rest to put it all together to form a virtual choir. Tobias displays a few scenarios where music education can get creative. One of them is putting contemporary musical practices into the classroom. Music teachers would help students reflect on their engagement with music; it would work with or without technology and the teacher could ask question like what aspects of the original are you highlighting or changing? This scenario is very interesting because it calls for creativity in the students. Another scenario he mentions is to engage in contests and opportunities. Music teachers could look at Soundcloud.com and have the students create musical projects and have them posted. Tobias
displays good scenarios to have students engage in popular music; I
enjoyed reading this article very much because I agree that music education should evolve and be constantly changing as a result of societys rapid flow. Such activities where students engage in contemporary musical practices can make their love of music grow and grow.