Dr Brandoff opens with two vignettes; one where he describes a time of personal social frustration where he wanted to punch a wall (but played some classical piano instead – he demos it live!). His second example is a patient case (see slide).
As a palliative care expert and pain specialist, he gives us an overview of patient needs, in the context of his profession, and in the context of US healthcare. He considers opioids an important part of pain treatment, but acknowledges the rampant public health opioid crisis. We look at some disturbing stats of overdose deaths involving opioids in the US, correlated with heroin and fentanyl takeup, and a more local analysis of the picture here in Massachusetts.
Our first speaker, Dr David Silverstein, leads us through a fascinating overview of ‘music and the brain’, and he begins with a quotation from Hippocrates:
And men ought to know that from nothing else but thence [from the brain] come joys, delights, laughter and sports, and sorrows, griefs, despondency, and lamentations. And by this, in an especial manner, we acquire wisdom and knowledge, and see and hear, and know what are foul and hat are fair, what are bad and what are good, what are sweet, and what unsavory… And by the same organ we become mad and delirious, and fears and terrors assail us…
We see evolutionary comparisons of the prefrontal cortex of various mammals, from rats to humans. As Dr Silverstein puts it “[our brains] hitch a ride on blood oxygenation”. Neurology and psychology are the fields by which we learn about our subjective brain experiences.
Popular Music Education as an antidote to McDonaldization
John Kratus, Professor Emeritus of Music Education, Michigan State University.
John begins with an overview of the concept of McDonaldization (Ritter 1993) – defined as a rational process combining efficiency, calculability, predictability and control, starting with McDonalds itself, and then extending the metaphor towards the ‘template’ that he suggests represents typical K-12 music curricula in the USA.
He cites Ritter “people are the greatest threat to predictability” and suggests that McDonaldized curricula need to suppress students’ agency.
Advocating for Popular Music Education – where do we go from here?
Steve Holley, Music educator
Steve begins with an overview of US music education generally, including high schools and universities, asking ‘why adapt now?’ and describing a necessary journey toward curricular adaptation. He takes us back to the mid-20thC innovators (USC, Miami, Berklee) who ‘took a chance on jazz’, and observes that the music education community thought they were crazy. Within 50 years of those early adopters, jazz in music schools had become mainstream. Steve believes that popular music education today is where jazz music education was in the 1950s, and predicts a similar trickle-down effect in future years, giving examples of schools where this is already starting to happen.
Evan begins by describing the program beginning with a ‘chicken and egg’ situation in his institution. A committee was formed to figure out how to launch a popular music degree – but no-one on the committee had a popular music background. The committee pushed ahead, based on the institutional promise from ASU that faculty would be hired when the decision had been made to launch.
Practical Production Analysis: Helping Students Produce Competitive Songs
Misty opens by describing her particular students as ‘in the box’ producers – that is to say, they create the entire sound recording in a Digital Audio Workstation. The problem she’s trying to solve is this: the students’ recordings are just not ready yet [for the commercial marketplace]. So today, she will be sharing her approach to helping students to make their song recordings competitive, in the genre they want to produce in.
The approach starts with the assumption that students ‘have their chops down’ – that is, they can write melodies & lyrics, understand harmony, and can program beats. With this out of the way, the students are asked to work on these four areas:
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.