I hate marking. No, I hate the idea of it. I like it once I get going, but it’s awfully time-consuming. In principle I value it, as it’s one of the most important things a teacher can do for a student. Although years later people often remember great teachers or great moments from particular classes, what seems to matter most to students when they are at college is the marks they get. Or maybe that’s just what teachers say. Often I think that what matters most to my students, anyway, is the music they make (and how much they can drink). But when they’re paying for a degree, and working very hard to do well at it (most are, although “very hard” is relative – I had no idea what that really meant ‘til I started doing a PhD whilst working full-time in two jobs and playing drums for three bands), students deserve their marks back on time.
This post is based on a presentation that I gave at ‘Improvisation: Educational Perspectives’, a conference that we held at the University of Edinburgh in April, 2014.
It is very common for people to say to me on a gig or recording session: ‘play a sax solo…you know – like the the one on ‘Born to Run’ – or, ‘let’s do Baker Street’ (or even Careless Whisper, unfortunately). Similarly, I’ve had many occasions where my pupils have said things like – ‘show me how to do it like Maceo Parker‘ or ‘how can I make it sound more like [X, Y or Z player]?’. I am really interested by the idea that people, particularly in the realm of pop music, will not only learn to improvise by emulating those who they enjoy listening to and respect, but will in many cases also be asked in educational and professional contexts to do so and may be assessed or evaluated on the success of the emulation. So, in this post, I would like to explore the notion of improvisation in pop and rock music – clearly this is a huge topic but this is deliberate and I will try to write as generally as possible for the purposes of stimulating discussion. I should also note that, although a great deal of pop/rock music is improvised, (guitar strumming, keyboard fills, etc.) featured solos are inevitably of great interest. Continue reading ‘Just Like Clarence’
Last weekend I had the pleasure of giving a paper at the ‘Creativities, Musicalities and Entrepreneurship‘ conference which was a wonderful event organised by the Institute of Contemporary Music Performance. This post is essentially an abridged version of that presentation.
In addition to my university work, I also teach music in schools and on a number of youth music projects and, therefore, spend a lot of time working with young musicians. One particular youth music project that I am involved with affords young musicians (aged up to 25 years old) an opportunity to work with music industry mentors (professional musicians, composers and audio engineers), over a six month period in order to write, record, produce, publicise and sell their own music. Through working on this project and in schools/colleges/universities I have become very aware of a number of interesting issues surrounding the music making of young musicians, particularly in informal learning environments, and I will use this post to discuss them briefly. Continue reading An Ecology of Music Making: Young people, leisure, industry and education