Scholarship
Professional Articles
Being Hip-Hop: Beyond Skills and Songs
Adam J. Kruse
Kruse, A. J. (2016). Being hip-hop: Beyond skills and songs. General Music Today. Advance online publication. doi: 10.1177/1048371316658931
Abstract
In this article, I offer four principles relevant to hip-hop cultures (keep it real, flip the script, make some noise, and stay fresh) and explore how these principles might affect music classrooms. I argue that a music classroom that works to keep it real, flip the script, make some noise, and stay fresh might go beyond teaching hip-hop skills and songs to actually being hip-hop. Adopting these principles would ideally keep music classrooms relevant to students’ interests, focus on connections to both local and global contexts, take and transform music ideas, and create original music within an environment that honors music traditions for what they are and remains flexible and responsive to ruptures in flow. I include a snapshot of what a potential music classroom that is hip-hop might look like.
Adam J. Kruse
Kruse, A. J. (2016). Being hip-hop: Beyond skills and songs. General Music Today. Advance online publication. doi: 10.1177/1048371316658931
Abstract
In this article, I offer four principles relevant to hip-hop cultures (keep it real, flip the script, make some noise, and stay fresh) and explore how these principles might affect music classrooms. I argue that a music classroom that works to keep it real, flip the script, make some noise, and stay fresh might go beyond teaching hip-hop skills and songs to actually being hip-hop. Adopting these principles would ideally keep music classrooms relevant to students’ interests, focus on connections to both local and global contexts, take and transform music ideas, and create original music within an environment that honors music traditions for what they are and remains flexible and responsive to ruptures in flow. I include a snapshot of what a potential music classroom that is hip-hop might look like.
Featherless Dinosaurs and the Hip-Hop Simulacrum: Reconsidering Hip-Hop's Appropriateness for the Music Classroom
Adam J. Kruse
Kruse, A. J. (2016). Featherless dinosaurs and the hip-hop simulacrum: Reconsidering hip-hop's appropriateness for the music classroom. Music Educators Journal, 102(4), 13-21. doi: 10.1177/0027432116638904
Abstract
This article offers considerations for music teachers interested in including hip-hop music in their classrooms but who might feel concerned with or overwhelmed by issues of appropriateness. Two concerns related to hip-hop music are examined: language and negative social themes. Commercial interests in hip-hop music have created a simulacrum (or simulated reality) on which many music educators’ concerns may be based. Suggestions are included for workarounds and direct engagement with these issues.
Adam J. Kruse
Kruse, A. J. (2016). Featherless dinosaurs and the hip-hop simulacrum: Reconsidering hip-hop's appropriateness for the music classroom. Music Educators Journal, 102(4), 13-21. doi: 10.1177/0027432116638904
Abstract
This article offers considerations for music teachers interested in including hip-hop music in their classrooms but who might feel concerned with or overwhelmed by issues of appropriateness. Two concerns related to hip-hop music are examined: language and negative social themes. Commercial interests in hip-hop music have created a simulacrum (or simulated reality) on which many music educators’ concerns may be based. Suggestions are included for workarounds and direct engagement with these issues.
Reapproaching Hip-Hop
Noah Karvelis
Karvelis, N. (2016). Reapproaching Hip-Hop. Music Educators Journal, 102(3), 13-14. doi: 10.1177/0027432116631718
Noah Karvelis
Karvelis, N. (2016). Reapproaching Hip-Hop. Music Educators Journal, 102(3), 13-14. doi: 10.1177/0027432116631718
Toward Hip-Hop Pedagogies for Music Education
Adam J. Kruse
Kruse, A. J. (2016). Toward hip-hop pedagogies for music education. International Journal of Music Education, 34(2), 247–260. doi: 10.1177/0255761414550535
Abstract
Music education scholarship in the areas of popular, vernacular, and participatory musicianship has grown in the past decades; however, music education research concerned specifically with hip-hop has been relatively scarce. Because hip-hop music can differ tremendously from the traditional western genres with which many music educators are most familiar, a great need for research in this area exists. In this article, I summarize general education scholarship related to hip-hop and offer implications toward hip-hop pedagogies for music education. I employ Hill’s (2009) classifications of hip-hop pedagogy (Pedagogies with hip-hop, Pedagogies about hip-hop, and Pedagogies of hip-hop) as a structure to better understand previous literature and to provide a descriptive framework for potential applications of hip-hop pedagogies to music education settings. I describe Hill’s categories using the labels of Hip-hop as a bridge, Hip-hop as a lens, and Hip-hop as practice.
Adam J. Kruse
Kruse, A. J. (2016). Toward hip-hop pedagogies for music education. International Journal of Music Education, 34(2), 247–260. doi: 10.1177/0255761414550535
Abstract
Music education scholarship in the areas of popular, vernacular, and participatory musicianship has grown in the past decades; however, music education research concerned specifically with hip-hop has been relatively scarce. Because hip-hop music can differ tremendously from the traditional western genres with which many music educators are most familiar, a great need for research in this area exists. In this article, I summarize general education scholarship related to hip-hop and offer implications toward hip-hop pedagogies for music education. I employ Hill’s (2009) classifications of hip-hop pedagogy (Pedagogies with hip-hop, Pedagogies about hip-hop, and Pedagogies of hip-hop) as a structure to better understand previous literature and to provide a descriptive framework for potential applications of hip-hop pedagogies to music education settings. I describe Hill’s categories using the labels of Hip-hop as a bridge, Hip-hop as a lens, and Hip-hop as practice.
Teaching Kendrick Lamar’s “To Pimp a Butterfly” in the Music Classroom
Noah Karvelis
Karvelis, N. (2015). Teaching Kendrick Lamar's "To Pimp a Butterfly" in the music classroom. Leading Notes. Available at http://www.leadingnotes.org/2015/05/11/kendrick-lamar-to-pimp-a-butterfly-music-classroom
Noah Karvelis
Karvelis, N. (2015). Teaching Kendrick Lamar's "To Pimp a Butterfly" in the music classroom. Leading Notes. Available at http://www.leadingnotes.org/2015/05/11/kendrick-lamar-to-pimp-a-butterfly-music-classroom
From Musical Detectives to DJs: Expanding Aural Skills and Analysis Through Engaging Popular Music and Culture
Evan Tobias
Tobias, E. S. (2015). From musical detectives to DJs: Expanding aural skills and analysis through engaging popular music and culture. General Music Today, 28(3), 23–27. doi: 10.1177/1048371314558293
Abstract
Many music educators address aural skills and analysis by drawing on strategies designed for the realm of Western classical music. Focusing solely on aural skills and analysis within paradigms of Western music can limit students’ musical learning and engagement to particular ways of knowing music. To diversify and broaden the types of aural skills and analysis that students learn and engage with, music educators might consider contexts beyond Western classical music. This article outlines several ways that music teachers might situate aural skills and analysis in the context of musical engagement related to popular music and culture. Designed with secondary students in mind, the included approaches can be applied in any music learning context if adjusted for developmental appropriateness. The forms of engagement in this article might broaden the types of aural skills and analysis we include in music programs and expand popular music pedagogies that sometimes focus on performing.
Evan Tobias
Tobias, E. S. (2015). From musical detectives to DJs: Expanding aural skills and analysis through engaging popular music and culture. General Music Today, 28(3), 23–27. doi: 10.1177/1048371314558293
Abstract
Many music educators address aural skills and analysis by drawing on strategies designed for the realm of Western classical music. Focusing solely on aural skills and analysis within paradigms of Western music can limit students’ musical learning and engagement to particular ways of knowing music. To diversify and broaden the types of aural skills and analysis that students learn and engage with, music educators might consider contexts beyond Western classical music. This article outlines several ways that music teachers might situate aural skills and analysis in the context of musical engagement related to popular music and culture. Designed with secondary students in mind, the included approaches can be applied in any music learning context if adjusted for developmental appropriateness. The forms of engagement in this article might broaden the types of aural skills and analysis we include in music programs and expand popular music pedagogies that sometimes focus on performing.
Elevate And Find: Developing Young Hip Hop Feminists Through Critical Art Education And Activism
Lauren M. Gardner
Gardner, L. M. (2014). Elevate and find: Developing young hip hop feminists through critical art education and activism. Gender, Education, Music, and Society, 7(6). doi: http://dx.doi.org/10.5561/gems.v7i6.5365
Abstract
This paper will critically review civic engagement literature to reveal a gap indicating a need for social science research on how the arts contribute to developing critical, civic-minded, activist youth. This paper is predominantly concerned with young women of color in the United States and how they seek to utilize Hip Hop feminism in their civic artist-activist expressions and community mobilization efforts. While there are some programs utilizing the arts in order to increase youth activism and civic participation, currently there is a dearth of literature indicating how critical arts education curricula can scaffold youth civic development. This paper will examine two case studies exemplifying young women of color utilizing the arts, particularly Hip Hop, for activism. Many of the young artist-activist women do not realize the traditions they are building upon. Therefore, young women might benefit from the exploration of theories, traditions and methods utilized in historic or parallel artist-activist movements in order to substantiate youth positionality and to encourage development of youth artist-activist agendas. With this, potential literature will be presented to support and scaffold critical arts education curricula in order to provide a historical basis and an endpoint to such burgeoning youth artist-activist agendas.
Lauren M. Gardner
Gardner, L. M. (2014). Elevate and find: Developing young hip hop feminists through critical art education and activism. Gender, Education, Music, and Society, 7(6). doi: http://dx.doi.org/10.5561/gems.v7i6.5365
Abstract
This paper will critically review civic engagement literature to reveal a gap indicating a need for social science research on how the arts contribute to developing critical, civic-minded, activist youth. This paper is predominantly concerned with young women of color in the United States and how they seek to utilize Hip Hop feminism in their civic artist-activist expressions and community mobilization efforts. While there are some programs utilizing the arts in order to increase youth activism and civic participation, currently there is a dearth of literature indicating how critical arts education curricula can scaffold youth civic development. This paper will examine two case studies exemplifying young women of color utilizing the arts, particularly Hip Hop, for activism. Many of the young artist-activist women do not realize the traditions they are building upon. Therefore, young women might benefit from the exploration of theories, traditions and methods utilized in historic or parallel artist-activist movements in order to substantiate youth positionality and to encourage development of youth artist-activist agendas. With this, potential literature will be presented to support and scaffold critical arts education curricula in order to provide a historical basis and an endpoint to such burgeoning youth artist-activist agendas.
“We Either Move Or Petrify”: Transnational Hip Hop Feminisms Amongst Hip Hop Dancers And Graffiteras – A Critical Literature Review
Lauren M. Gardner
Gardner, L. M. (2014). "We either move or petrify": Transnational hip hop feminisms amongst hip hop dancers and graffiteras - A critical literature review. Gender, Education, Music, and Society, 7(4). doi: http://dx.doi.org/10.5561/gems.v7i4.5218
Abstract
The article critically reviews literature on Transnational Hip Hop Feminisms (THHF) and the relevant discourses from artists and activists around the world with the hope of recognizing similarities across various diverse global contexts. Three case studies are presented to elucidate the revolutionary and transformative potential of THHF across the rap, dance and graffiti genre of Hip Hop expressive art and cultural production. The article presents initial analysis of the discourse of ‘self’ and ‘other’ vis-à-vis the individual and the collective to explore the possibility of employing a tenet of Hip Hop culture, the ‘me:we” value in order to complicate the ‘self:other’ dichotomy present in much Transnational Hip Hop Feminist research.
Lauren M. Gardner
Gardner, L. M. (2014). "We either move or petrify": Transnational hip hop feminisms amongst hip hop dancers and graffiteras - A critical literature review. Gender, Education, Music, and Society, 7(4). doi: http://dx.doi.org/10.5561/gems.v7i4.5218
Abstract
The article critically reviews literature on Transnational Hip Hop Feminisms (THHF) and the relevant discourses from artists and activists around the world with the hope of recognizing similarities across various diverse global contexts. Three case studies are presented to elucidate the revolutionary and transformative potential of THHF across the rap, dance and graffiti genre of Hip Hop expressive art and cultural production. The article presents initial analysis of the discourse of ‘self’ and ‘other’ vis-à-vis the individual and the collective to explore the possibility of employing a tenet of Hip Hop culture, the ‘me:we” value in order to complicate the ‘self:other’ dichotomy present in much Transnational Hip Hop Feminist research.
Flipping the Misogynist Script: Gender, Agency, Hip Hop, and Music Education
Evan Tobias
Tobias, E. S. (2014). Flipping the misogynist script: Gender, agency, Hip Hop, and music education. Action, Criticism and Theory for Music Education, 13(2), 49–84.
Abstract
Excluding Hip Hop culture and rap music from music education misses opportunities for addressing key aspects of popular culture, society, and students’ lives. This article addresses intersections of Hip Hop, gender, and music education to forward potential Hip Hop praxis. After tracing related scholarship, I discuss and problematize representations of women in Hip Hop, including patriarchal, hetero-normative, and essentialized notions of Hip Hop that objectify and marginalize women. Through musicking, critical media literacy, and critical pedagogy young people might analyze and engage critically with Hip Hop and issues of identity, meaning making, representation, and agency in music education.
Evan Tobias
Tobias, E. S. (2014). Flipping the misogynist script: Gender, agency, Hip Hop, and music education. Action, Criticism and Theory for Music Education, 13(2), 49–84.
Abstract
Excluding Hip Hop culture and rap music from music education misses opportunities for addressing key aspects of popular culture, society, and students’ lives. This article addresses intersections of Hip Hop, gender, and music education to forward potential Hip Hop praxis. After tracing related scholarship, I discuss and problematize representations of women in Hip Hop, including patriarchal, hetero-normative, and essentialized notions of Hip Hop that objectify and marginalize women. Through musicking, critical media literacy, and critical pedagogy young people might analyze and engage critically with Hip Hop and issues of identity, meaning making, representation, and agency in music education.
Hip-Hop, Digital Media, and the Changing Face of Music Education
Matthew D. Thibeault
Thibeault, M. D. (2010). Hip-hop, digital media, and the changing face of music education. General Music Today, 24(1), 46-49.
Abstract
This article and accompanying podcast explore the technological approaches and techniques found in hip hop as obvious examples of changes happening across music. The article uses the example of Dwayne Carter, aka Lil Wayne, to explore some of the approaches and techniques now in use, and then locates similar approaches in the classroom teaching of the author. The article concludes with a brief review of hip hop resources of value to music educators.
Matthew D. Thibeault
Thibeault, M. D. (2010). Hip-hop, digital media, and the changing face of music education. General Music Today, 24(1), 46-49.
Abstract
This article and accompanying podcast explore the technological approaches and techniques found in hip hop as obvious examples of changes happening across music. The article uses the example of Dwayne Carter, aka Lil Wayne, to explore some of the approaches and techniques now in use, and then locates similar approaches in the classroom teaching of the author. The article concludes with a brief review of hip hop resources of value to music educators.
From Haydn to Hip-Hop: Meeting Students' Needs in an Urban Classroom
Robert Vagi
Vagi, R. (2010). From Haydn to hip-hop: Meeting students' needs in an urban classroom. Teaching Music, 17(4), 28-30.
Abstract
When an inner-city Arizona music teacher found himself faced with too many orchestra students and not enough instruments, he took a risky but rewarding left turn--into rap music. In this article, the author describes how he teaches his hip-hop class, the challenges in creating and teaching the class, and the positive results.
Robert Vagi
Vagi, R. (2010). From Haydn to hip-hop: Meeting students' needs in an urban classroom. Teaching Music, 17(4), 28-30.
Abstract
When an inner-city Arizona music teacher found himself faced with too many orchestra students and not enough instruments, he took a risky but rewarding left turn--into rap music. In this article, the author describes how he teaches his hip-hop class, the challenges in creating and teaching the class, and the positive results.
Garage Band or GarageBand®? Remixing Musical Futures
Lauri Väkevä
Väkevä, L. (2010). Garage band or GarageBand®? Remixing Musical Futures. British Journal of Music Education, 27(1), 59-70. doi: http://dx.doi.org/10.1017/S0265051709990209
Abstract
In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.
Lauri Väkevä
Väkevä, L. (2010). Garage band or GarageBand®? Remixing Musical Futures. British Journal of Music Education, 27(1), 59-70. doi: http://dx.doi.org/10.1017/S0265051709990209
Abstract
In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.
Negotiating the ‘Roots/Routes’ of Authenticity and Identity in Nordic Hip-Hop
Peter Dyndahl
Dyndahl, P. (2009). Negotiating the roots/routes of authenticity and identity in Nordic hip-hop. Musiikkikasvatus/The Finnish Journal of Music Education, 12(2), 22–38.
Peter Dyndahl
Dyndahl, P. (2009). Negotiating the roots/routes of authenticity and identity in Nordic hip-hop. Musiikkikasvatus/The Finnish Journal of Music Education, 12(2), 22–38.
Rap, Rock, Race, and Rhythm: Music and More in a Methods Class
Patricia Shehan Campbell & Ann C. Clements
Campbell, P. S., & Clements, A. C. (2006). Rap, rock, race, and rhythm: Music and more in a methods class. The Mountain Lake Reader, (4), 16–23.
Patricia Shehan Campbell & Ann C. Clements
Campbell, P. S., & Clements, A. C. (2006). Rap, rock, race, and rhythm: Music and more in a methods class. The Mountain Lake Reader, (4), 16–23.
Post-Civil Rights Music or Why Hip Hop is Dominant
Rinaldo Walcott
Walcott, R. (2005). Post-Civil Rights music or why hip hop is dominant. Action, Criticism & Theory, 4(3), 2–8.
Rinaldo Walcott
Walcott, R. (2005). Post-Civil Rights music or why hip hop is dominant. Action, Criticism & Theory, 4(3), 2–8.
