Music production as creative bildung in folk high schools

Publikation: Konferencebidrag uden forlag/tidsskriftKonferenceabstrakt til konferenceFormidling

Resumé

Music production as creative bildung in folk high schools
Magne Kolstad, Department of Learning and Philosophy, Aalborg University. Mail: makol@hum.aau.dk
This study is about social differentiation (Juteau, 2003), access to- and uses of- post-digital recording technology (Busby, 2017), and aesthetic learning in folk high schools (Bagley and Rust, 2009). Folk high schools are one of the few institutions of education in Europe that has not adopted an employability approach to creativity, as a consequence of EU educational policies on creativity, innovation and entrepreneurship. 
Instead, learning at Folk High Schools are concerned with becoming someone instead of something. In a test-safe, student-centred environment for learning, at the edge of the formal educational system, students are allowed to just ”muck around” (Gee, 2017) with music and recording technology. But even though the environment is formally safe, students may still experience a degree of discursive normative pressure from society, as no one can escape culture. However, in this context, learning music production and uses of the recording studio is not about being able to make commercially viable products, but instead part of a lifelong- and lifewide bildung pedagogy (Lund, 2010), where novice learners can have access to a creative system (Thompson & Mcintyre, 2013), that is not marked-up by neoliberal education policies (Rizvi, 2017). 
Some of the empirical questions explored in the study are; what matters in folk high school learners’ construction of music recordings? How does the students learn to use the equipment and translate the affordances in the creative system? Even when free to do so, to what extent can students at folk high schools resist societal discourse, and learn in the interest of enlightenment, identity development and musical participation, rather than for the imagination of future employment?
Keywords: music pedagogy; art of record production; arts-based inquiry; bildung; creativity discourses; social differentiation
References:Bagley, S.S and Rust, V.D (2009). Community-Based Folk High Schools in Norway, Sweden, and Denmark. In; R.L. Raby, E.J. Valeau (eds.) (2009). Community College Models – Globalization and Higher Education Reform. Springer Netherlands.Busby, L (2017). Collage, cut up, and pop mantras: post-digital approaches to songwriting. In; Williams J.A and Williams, K (eds.) (2017). The singer-songwriter handbook. Bloomsbury.Rizvi, F. (2017). Globalization and the Neoliberal Imaginary of Educational Reform. Education Research and Foresight Series, No. 20. Paris, UNESCO. https://en.unesco.org/node/262287Gee, J. P (2017). Teaching, learning, literacy in our high risk high tech world – a framework for becoming human. Teacher’s college press.Juteau, D (ed.) (2003). Social differentiation – Patterns and processes. University of Toronto Press.Lund, B (2010). Innovation strategies in school. In; Skogen, K; Sjøvoll, J (2010). Creativity and innovation – Preconditions for entrepreneurial education. Tapir academic press, Trondheim.Thompson, P; Mcintyre, P (2013). Rethinking Creative Practice In Record Production And Studio Recording Education: Addressing The Field. In; Journal of the art of record production, Issue 08. Proceedings of the 2013 Art of Record Production Conference, Université Laval, Québec. Online athttp://www.arpjournal.com/asarpwp/content/issue-8/
OriginalsprogEngelsk
Publikationsdato2019
Antal sider1
StatusAccepteret/In press - 2019
Begivenhed14th Art of Record Production "in C": Creation, Connectivity, Collaboration and Controllers - Berklee College of Music, Boston, USA
Varighed: 17 maj 201919 maj 2019
http://www.artofrecordproduction.com/arp-conferences/arp-2019

Konference

Konference14th Art of Record Production "in C"
LokationBerklee College of Music
LandUSA
ByBoston
Periode17/05/201919/05/2019
Internetadresse

Emneord

  • music pedagogy
  • arts-based inquiry
  • Bildung
  • creativity discourses
  • social differentiation

Citer dette

Kolstad, M. (Accepteret/In press). Music production as creative bildung in folk high schools. 1. Abstract fra 14th Art of Record Production "in C", Boston, USA.
Kolstad, Magne. / Music production as creative bildung in folk high schools. Abstract fra 14th Art of Record Production "in C", Boston, USA.1 s.
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abstract = "Music production as creative bildung in folk high schoolsMagne Kolstad, Department of Learning and Philosophy, Aalborg University. Mail: makol@hum.aau.dkThis study is about social differentiation (Juteau, 2003), access to- and uses of- post-digital recording technology (Busby, 2017), and aesthetic learning in folk high schools (Bagley and Rust, 2009). Folk high schools are one of the few institutions of education in Europe that has not adopted an employability approach to creativity, as a consequence of EU educational policies on creativity, innovation and entrepreneurship. Instead, learning at Folk High Schools are concerned with becoming someone instead of something. In a test-safe, student-centred environment for learning, at the edge of the formal educational system, students are allowed to just ”muck around” (Gee, 2017) with music and recording technology. But even though the environment is formally safe, students may still experience a degree of discursive normative pressure from society, as no one can escape culture. However, in this context, learning music production and uses of the recording studio is not about being able to make commercially viable products, but instead part of a lifelong- and lifewide bildung pedagogy (Lund, 2010), where novice learners can have access to a creative system (Thompson & Mcintyre, 2013), that is not marked-up by neoliberal education policies (Rizvi, 2017). Some of the empirical questions explored in the study are; what matters in folk high school learners’ construction of music recordings? How does the students learn to use the equipment and translate the affordances in the creative system? Even when free to do so, to what extent can students at folk high schools resist societal discourse, and learn in the interest of enlightenment, identity development and musical participation, rather than for the imagination of future employment?Keywords: music pedagogy; art of record production; arts-based inquiry; bildung; creativity discourses; social differentiationReferences:Bagley, S.S and Rust, V.D (2009). Community-Based Folk High Schools in Norway, Sweden, and Denmark. In; R.L. Raby, E.J. Valeau (eds.) (2009). Community College Models – Globalization and Higher Education Reform. Springer Netherlands.Busby, L (2017). Collage, cut up, and pop mantras: post-digital approaches to songwriting. In; Williams J.A and Williams, K (eds.) (2017). The singer-songwriter handbook. Bloomsbury.Rizvi, F. (2017). Globalization and the Neoliberal Imaginary of Educational Reform. Education Research and Foresight Series, No. 20. Paris, UNESCO. https://en.unesco.org/node/262287Gee, J. P (2017). Teaching, learning, literacy in our high risk high tech world – a framework for becoming human. Teacher’s college press.Juteau, D (ed.) (2003). Social differentiation – Patterns and processes. University of Toronto Press.Lund, B (2010). Innovation strategies in school. In; Skogen, K; Sj{\o}voll, J (2010). Creativity and innovation – Preconditions for entrepreneurial education. Tapir academic press, Trondheim.Thompson, P; Mcintyre, P (2013). Rethinking Creative Practice In Record Production And Studio Recording Education: Addressing The Field. In; Journal of the art of record production, Issue 08. Proceedings of the 2013 Art of Record Production Conference, Universit{\'e} Laval, Qu{\'e}bec. Online athttp://www.arpjournal.com/asarpwp/content/issue-8/",
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Kolstad, M 2019, 'Music production as creative bildung in folk high schools' 14th Art of Record Production "in C", Boston, USA, 17/05/2019 - 19/05/2019, s. 1.

Music production as creative bildung in folk high schools. / Kolstad, Magne.

2019. 1 Abstract fra 14th Art of Record Production "in C", Boston, USA.

Publikation: Konferencebidrag uden forlag/tidsskriftKonferenceabstrakt til konferenceFormidling

TY - ABST

T1 - Music production as creative bildung in folk high schools

AU - Kolstad, Magne

PY - 2019

Y1 - 2019

N2 - Music production as creative bildung in folk high schoolsMagne Kolstad, Department of Learning and Philosophy, Aalborg University. Mail: makol@hum.aau.dkThis study is about social differentiation (Juteau, 2003), access to- and uses of- post-digital recording technology (Busby, 2017), and aesthetic learning in folk high schools (Bagley and Rust, 2009). Folk high schools are one of the few institutions of education in Europe that has not adopted an employability approach to creativity, as a consequence of EU educational policies on creativity, innovation and entrepreneurship. Instead, learning at Folk High Schools are concerned with becoming someone instead of something. In a test-safe, student-centred environment for learning, at the edge of the formal educational system, students are allowed to just ”muck around” (Gee, 2017) with music and recording technology. But even though the environment is formally safe, students may still experience a degree of discursive normative pressure from society, as no one can escape culture. However, in this context, learning music production and uses of the recording studio is not about being able to make commercially viable products, but instead part of a lifelong- and lifewide bildung pedagogy (Lund, 2010), where novice learners can have access to a creative system (Thompson & Mcintyre, 2013), that is not marked-up by neoliberal education policies (Rizvi, 2017). Some of the empirical questions explored in the study are; what matters in folk high school learners’ construction of music recordings? How does the students learn to use the equipment and translate the affordances in the creative system? Even when free to do so, to what extent can students at folk high schools resist societal discourse, and learn in the interest of enlightenment, identity development and musical participation, rather than for the imagination of future employment?Keywords: music pedagogy; art of record production; arts-based inquiry; bildung; creativity discourses; social differentiationReferences:Bagley, S.S and Rust, V.D (2009). Community-Based Folk High Schools in Norway, Sweden, and Denmark. In; R.L. Raby, E.J. Valeau (eds.) (2009). Community College Models – Globalization and Higher Education Reform. Springer Netherlands.Busby, L (2017). Collage, cut up, and pop mantras: post-digital approaches to songwriting. In; Williams J.A and Williams, K (eds.) (2017). The singer-songwriter handbook. Bloomsbury.Rizvi, F. (2017). Globalization and the Neoliberal Imaginary of Educational Reform. Education Research and Foresight Series, No. 20. Paris, UNESCO. https://en.unesco.org/node/262287Gee, J. P (2017). Teaching, learning, literacy in our high risk high tech world – a framework for becoming human. Teacher’s college press.Juteau, D (ed.) (2003). Social differentiation – Patterns and processes. University of Toronto Press.Lund, B (2010). Innovation strategies in school. In; Skogen, K; Sjøvoll, J (2010). Creativity and innovation – Preconditions for entrepreneurial education. Tapir academic press, Trondheim.Thompson, P; Mcintyre, P (2013). Rethinking Creative Practice In Record Production And Studio Recording Education: Addressing The Field. In; Journal of the art of record production, Issue 08. Proceedings of the 2013 Art of Record Production Conference, Université Laval, Québec. Online athttp://www.arpjournal.com/asarpwp/content/issue-8/

AB - Music production as creative bildung in folk high schoolsMagne Kolstad, Department of Learning and Philosophy, Aalborg University. Mail: makol@hum.aau.dkThis study is about social differentiation (Juteau, 2003), access to- and uses of- post-digital recording technology (Busby, 2017), and aesthetic learning in folk high schools (Bagley and Rust, 2009). Folk high schools are one of the few institutions of education in Europe that has not adopted an employability approach to creativity, as a consequence of EU educational policies on creativity, innovation and entrepreneurship. Instead, learning at Folk High Schools are concerned with becoming someone instead of something. In a test-safe, student-centred environment for learning, at the edge of the formal educational system, students are allowed to just ”muck around” (Gee, 2017) with music and recording technology. But even though the environment is formally safe, students may still experience a degree of discursive normative pressure from society, as no one can escape culture. However, in this context, learning music production and uses of the recording studio is not about being able to make commercially viable products, but instead part of a lifelong- and lifewide bildung pedagogy (Lund, 2010), where novice learners can have access to a creative system (Thompson & Mcintyre, 2013), that is not marked-up by neoliberal education policies (Rizvi, 2017). Some of the empirical questions explored in the study are; what matters in folk high school learners’ construction of music recordings? How does the students learn to use the equipment and translate the affordances in the creative system? Even when free to do so, to what extent can students at folk high schools resist societal discourse, and learn in the interest of enlightenment, identity development and musical participation, rather than for the imagination of future employment?Keywords: music pedagogy; art of record production; arts-based inquiry; bildung; creativity discourses; social differentiationReferences:Bagley, S.S and Rust, V.D (2009). Community-Based Folk High Schools in Norway, Sweden, and Denmark. In; R.L. Raby, E.J. Valeau (eds.) (2009). Community College Models – Globalization and Higher Education Reform. Springer Netherlands.Busby, L (2017). Collage, cut up, and pop mantras: post-digital approaches to songwriting. In; Williams J.A and Williams, K (eds.) (2017). The singer-songwriter handbook. Bloomsbury.Rizvi, F. (2017). Globalization and the Neoliberal Imaginary of Educational Reform. Education Research and Foresight Series, No. 20. Paris, UNESCO. https://en.unesco.org/node/262287Gee, J. P (2017). Teaching, learning, literacy in our high risk high tech world – a framework for becoming human. Teacher’s college press.Juteau, D (ed.) (2003). Social differentiation – Patterns and processes. University of Toronto Press.Lund, B (2010). Innovation strategies in school. In; Skogen, K; Sjøvoll, J (2010). Creativity and innovation – Preconditions for entrepreneurial education. Tapir academic press, Trondheim.Thompson, P; Mcintyre, P (2013). Rethinking Creative Practice In Record Production And Studio Recording Education: Addressing The Field. In; Journal of the art of record production, Issue 08. Proceedings of the 2013 Art of Record Production Conference, Université Laval, Québec. Online athttp://www.arpjournal.com/asarpwp/content/issue-8/

KW - music pedagogy

KW - arts-based inquiry

KW - Bildung

KW - creativity discourses

KW - social differentiation

M3 - Conference abstract for conference

SP - 1

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Kolstad M. Music production as creative bildung in folk high schools. 2019. Abstract fra 14th Art of Record Production "in C", Boston, USA.