Music Technology, Bandlab and Berklee #apme2018

On the bus to the university this morning I introduced myself to the person sat next to me, who turned out to be John Bigus from my own institution (Berklee’s a great community, but it’s a BIG community, so it’s possible to work there for a long time without knowing everyone’s name). John is responsible for the PULSE free resource, available at pulse.berklee.edu, which is part of Berklee’s initiative to work with K-12 school age music creators and teachers.

John has been working with Bandlab, so there is an introduction from the company’s Lauren Henry Parsons, and our interviewer is Bandlab’s Michael Filson. It’s a cloud-based, free, 12-track DAW app (mobile app or browser-based) with 3.5m users across the world. It’s sponsored by the music instrument industry, which is why the end product is free for musicians – and a walled-garden version for students and teachers. It’s also part of a relaunch of SONAR’s Cakewalk.

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Musicality and Creativity in Curriculum

‘Keeping Musicality and Creativity at the Heart of Curriculum and Assessment’

Presenter: Matthew Cossey (ICA Nexus / University of West London)

Matthew opens with a discussion of the role of curriculum in popular music education, noting that the skills musicians gain in Higher Ed are arguably much more important than the qualification. Like the industry, he says, we must be ruthless in prioritizing meaningful musical career skills, rather than focusing on those elements that are the easiest to teach, or have heavily established pedagogies. [Read more…]

Association for Popular Music Education #apme #songwriting

Conference roomI’m in Nashville, at the #apme conference, hosted by Middle Tennessee State University. Popular Music Education is still a relatively young field, at least in terms of having its own conference (launched ~10 years ago) and journal (launched last year). More about AMPE at popularmusiceducation.org. Conference schedule here.

Coming from Berklee, perhaps I’ve become too comfortable with the idea that everyone talks about popular music pedagogy all the time. A lot of colleagues here are from institutions that have a long history of classical music education, but have only recently launched popular music programs. They are often seen as mavericks in their schools, and are viewed with some suspicion by more traditional teachers and departments. So there’s a palpable sense of community here, and even during this first morning of day 1 I’ve frequently overheard the phrase: “I’ve finally found my people!”.

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