A Study on the Sociology of Music Education of Regelski

This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.

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Reports From the Field: Confessions of a Facebook Punk, or How Not to Do Social Media

The Oxford Handbook of Social Media and Music Learning ◽

10.1093/oxfordhb/9780190660772.013.14 ◽

2020 ◽

pp. 235-244

Author(s):

Gareth Dylan Smith

Keyword(s):

Social Media ◽

Music Education ◽

Popular Music ◽

Purpose In Life ◽

Sociology Of Music ◽

Working Through ◽

The World

The author is rarely certain of his purpose in life—a condition that is heightened by a busy yet reluctant level of engagement with social media. The author utilizes Facebook and Twitter to promote activity around popular music education and sociology of music education. There is considerable overlap in the author’s life between professional and personal domains, which seems amplified by social media. Facebook and Twitter provide less formal, more direct means to engage with the world than traditional modes of peer-reviewed communication among academic colleagues. Social media provide a platform for working through ideas and for addressing problems with urgency and immediacy. As such, and despite some messiness and increased levels of vulnerability and risk, the author encourages peers to engage with social media’s immediate and powerful, punk pedagogical potential.

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Toward a sociology of music education informed by Indigenous perspectives

The Routledge Handbook to Sociology of Music Education ◽

10.4324/9780429504631-5-9 ◽

2021 ◽

pp. 80-96

Author(s):

Anita Prest ◽

J. Scott Goble

Keyword(s):

Music Education ◽

Sociology Of Music ◽

Indigenous Perspectives

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The Application of a Critical Sociology to Music Education

British Journal of Music Education ◽

10.1017/s0265051700000474 ◽

1984 ◽

Vol 1 (3) ◽

pp. 247-266 ◽

Cited By ~ 3

Author(s):

Graham Vulliamy ◽

John Shepherd

Keyword(s):

Music Education ◽

Popular Music ◽

Music Educators ◽

Music Teaching ◽

Critical Sociology ◽

Cambridge University ◽

Sociology Of Music ◽

Musical Notation ◽

Musical Traditions

The aim of this article is to explore some important issues which music educators have raised concerning our work on the use of popular music in teaching and concerning the sociology of music thesis that underpins this work. Following a brief résumé of our perspective, we shall address four criticisms that have been made fairly generally by a number of reviewers of Whose Music? (Shepherd et al. 1977), and of the Cambridge University Press books (Vulliamy & Lee, 1976, 1982a) and the Routledge Popular Music Series (Vulliamy & Lee, 1982b). These criticisms are, first, that we hold an over-socially determined view of music; secondly that we have overstressed the qualitative differences between various musical traditions, especially in their differing relationships to analytic musical notation; third, that the culturally relative view of music which we espouse is both suspect theoretically and potentially anti-educational in practice; and, finally, that many of our suggestions for a reform of music teaching are impractical. Our hope is that we can dispel some ambiguities in our earlier work concerning these important but complex issues and thus leave music educators in a better position to appraise the relevance of our thesis.

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Bourdieu and the Sociology of Music Education

10.4324/9781315569819 ◽

2016 ◽

Author(s):

Pamela Burnard ◽

Ylva Hofvander Trulsson

Keyword(s):

Music Education ◽

Sociology Of Music

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A Sociological Perspective on Technology and Music Education

The Oxford Handbook of Technology and Music Education ◽

10.1093/oxfordhb/9780199372133.013.33 ◽

2017 ◽

pp. 344-350

Author(s):

Ruth Wright

Keyword(s):

Music Education ◽

Music Technology ◽

Sociological Perspective ◽

Music Learning ◽

Sociology Of Music ◽

Informal Music Learning ◽

Basil Bernstein

This chapter considers the questions Where is technology within music education? and Who is affected and how? from a perspective drawn from sociology and in particular the sociology of music education. The chapter discusses the emergence of a totally technologized society, akin to the “totally pedagogized society” identified by Basil Bernstein, and consider its implications for music technology and music education. The chapter suggests that many students exist in an educational technotopia that offers great potential within models such as informal music learning for more equitable models of music education.

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