Paper: Online Tools to Promote Music of the Midwest Robert Willey (Ball State University)
ABSTRACT: An approach to teaching a music industry class involving the promotion of regional music is presented. A variety of tools are applied, including cell phones, lap tops, web browsers, iTunes, streaming Internet radio, and Google drive, forms, maps, and gmail. Many of the class meetings are flipped, with students watching lectures and studying at home and working in groups during classtime. The class is modified in the summer to be taught online with more individual than group projects, and office hours performed using WebEx online meetings.
Ninety percent of the students in the class take it as a general elective. There is an entrepreneurial emphasis in which students explore their interests and apply their portfolio of skills in whatever major they come from to develop a project that fills a community need. Electronic tools help us reach outside our small-town environment, get practical experience, and develop contacts.
Robert begins by talking about his ‘graphic curriculum maps’ – which are flowcharts that describe the learning journey. His pedagogy of ‘Specifications Grading‘ is partly influenced by the work of Linda B Nilson.
Our first session today is a panel, chaired by David E Myers, entitled “Inclusion, Access, Relevance: Addressing 21st Century Higher Education Challenges through Shared Governance”. This is perhaps the biggest strategic conversation in US Music Higher Ed right now – the institutions know there is a problem, but many seem unable to improve student or faculty diversity in any significant way.
[JB comment – I have my own theories about this, and take the view that repertoire is the primary culprit; classical music is a European tradition, and it has not absorbed non-white cultures easily. Institutions still build much of their curricula around the Common Practice period, and then express surprise that the programs are less appealing to those from other musical/cultural traditions. The question is – which lever of change is the most moveable – faculty, repertoire, curriculum or recruitment…?].
Peter begins with some caveats; he comments that the report deals particularly with the recording industry (and does not cover other music industries – e.g. live music and music education). Second, he notes the support from Kobalt Music, whom he notes are a very particular type of publisher, with a particular interest in digital and many very large-scale song catalogues in their portfolios.
This week I’m in Santa Fe. I’ve never seen New Mexico before (except through the fictional eyes of Jesse, Walt, Hank, Skylar, Mike etc) and it’s quite beautiful – the view from the hotel is filled with sandstone fort-like buildings and distant mountains. The event is the College Music Society conference, an annual get-together of higher education music schools from across the US. Most of the major conservatories are represented, as are the music departments of many of the universities.