Music Production Cultures draws on interviews with international educators, surveys of music production students from around the globe, and contextualised career experiences from the author as a celebrated music producer to explore how effective learning environments can be created for popular music production in higher education.
Music Production Cultures draws on interviews with international educators, surveys of music production students from around the globe, and contextualised career experiences from the author as a celebrated music producer to explore how effective learning environments can be created for popular music production in higher education.
Brendan Anthony has an international career as a popular music producer of 30 years, holds a doctorate of education and lectures in music production within the Bachelor of Music at the Queensland Conservatorium, Griffith University. Brendan's research engages with popular music production, popular music education and the relationship between technology and music production creative practice. More information is available at brendananthonymusic.com.
Inhaltsangabe
Introduction: Music production cultures and rationale Part 1: Modern popular music production skills, practices and processes 1. Music production skills and creative practice 2. Popular music production processes (Part A). Cognition, popular music production agency and socio-musical concepts 3. Popular music production processes (Part B). The manifestation of recorded works 4. Songwriting and production 5. Music production subjectivity and creativity Part 2: Popular music production pedagogy that bridges to the real world 6. What is the real world? 7. Popular music production learning approaches 8. The places and spaces of popular music production pedagogy 9.The cohort (both sides of the glass) Part 3: Pedagogical approaches 10. Popular music production pedagogy- an engagement with diverse music production cultures 11. Learning frameworks 12. The music 13. The educator's role 14. Practice-based pedagogical applications 15. Collaboration and creativity in popular music production pedagogy 16. Learning popular music production 17. Class targets 18. Assessment 19. Student accountability and educator mentorships Part 4: Pedagogical timeline, graduate considerations and summary 20. Student progression and graduate futures 21. Pedagogical summary and challenges
Introduction: Music production cultures and rationale Part 1: Modern popular music production skills, practices and processes 1. Music production skills and creative practice 2. Popular music production processes (Part A). Cognition, popular music production agency and socio-musical concepts 3. Popular music production processes (Part B). The manifestation of recorded works 4. Songwriting and production 5. Music production subjectivity and creativity Part 2: Popular music production pedagogy that bridges to the real world 6. What is the real world? 7. Popular music production learning approaches 8. The places and spaces of popular music production pedagogy 9.The cohort (both sides of the glass) Part 3: Pedagogical approaches 10. Popular music production pedagogy- an engagement with diverse music production cultures 11. Learning frameworks 12. The music 13. The educator's role 14. Practice-based pedagogical applications 15. Collaboration and creativity in popular music production pedagogy 16. Learning popular music production 17. Class targets 18. Assessment 19. Student accountability and educator mentorships Part 4: Pedagogical timeline, graduate considerations and summary 20. Student progression and graduate futures 21. Pedagogical summary and challenges
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