Abstract
Adorno ve Frankfurt Okulu’nun olumsuz bakış açısına rağmen popüler kültür ve onun bir parçası olarak popüler müzik, günümüzde geniş etki alanına sahip, çok boyutlu bir fenomene dönüşmüştür. Ancak; popüler müzik, müzik endüstrisinde elde ettiği büyük paya rağmen, müzik pedagojisinde seçkinci bir dirençle karşılaşmış ve Türkiye’deki gerek profesyonel müzik eğitiminde gerekse de okul müzik eğitimi programlarında pek yer bulamamıştır. Bu direncin altında popüler müziğin çoğunlukla “yüksek” kültür olarak görülen Batı Sanat Müziği’nin karşısında “düşük” ya da “yoz” bir tür olarak konumlandırılması yatar. Bu bağlamda araştırmanın amacı, Türkiye’de henüz yaygınlaşmamış olan popüler müzik pedagojisinin bir uygulama alanı olarak Akdeniz Üniversitesi Güzel Sanatlar Fakültesi Müzik Bölümü kapsamında yürütülen popüler müzik eğitimini incelemek, yaşanan sorunları saptamak ve eğitim sürecini iyileştirmek için veri toplamaktır. Bu yüzden araştırmada örnek olay çalışması ve aksiyon araştırmasının birleşiminden oluşan karma bir nitel yaklaşım kullanılmıştır. Araştırmada bu bölümün Popüler Müzik Asıl Dalı öğrenci ve mezunlarından yarı yapılandırılmış görüşme tekniği ile elde edilen veriler içerik analizine tabi tutulmuştur. Elde edilen bulguların söz konusu programı iyileştirme çalışmalarındaki rolü ortaya konmuştur.
References
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- Bereiter, C., & Scardamalia, M. (1993). Surpassing ourselves. An inquiry into the nature and implications of expertise. Chicago: Open Court.
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- Lebler, D. (2007). Student-as-master? Reflections on a learning innovation in popular music pedagogy. International Journal of Music Education, 25(3), 205-221.
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Abstract
Despite the negative point of view of Adorno and the Frankfurt School, popular culture and popular music as a part of it has turned into a multidimensional phenomenon with a wide range of influence today. However, despite its large share in the music industry, popular music has encountered elitist resistance in music pedagogy and has not found much place in both professional music education and school music education programs in Turkey. Underlying this resistance lies the positioning of popular music as a "low" or "degenerate" genre, against Western Art Music, which is mostly seen as a "high" culture. In this context, the aim of the research is to analyze the popular music education carried out within the scope of the Music Department of the Faculty of Fine Arts of Akdeniz University as an application area of popular music pedagogy, which has not yet become widespread in Turkey, to identify the problems experienced and to collect data to improve the education process. Therefore, a mixed qualitative approach consisting of a combination of case study and action research was used in the research. In the research, the data obtained from the students and graduates of the Popular Music Main Branch of this department with the semi-structured interview technique were subjected to content analysis. The role of the findings in the improvement studies of the said program has been revealed.
References
- Barry, N. H., & Walls, K. C. (1999). Preservice Teachers' Reactions to Aural Examples of Various Styles and Genres. Research Studies in Music Education, 13(1), 13-27.
- Bereiter, C., & Scardamalia, M. (1993). Surpassing ourselves. An inquiry into the nature and implications of expertise. Chicago: Open Court.
- Beverly, J.(1993). Teacher as Researcher. ERIC Digest. (ERIC Clearinhouse onTeacher Education, Washington DC, No: ED355205).
- Billinger, S., Fleisch, E., Friedli, T. & Rathje, M. (2004). Combining Action Research, Grounded Theory and Case Study Research within Long-term Research Projects. Available at: www.researchgate.net/publication/36384574.
- Biggs, J.B. 1999. Teaching for quality learning at university: What the student does. Buckingham, UK: Society for Research into Higher Education, Open University Press.
- Creswell, J. W., & Clark, V. L. P. (2007). Designing and conducting mixed methods research (p. 275). Thousand Oaks, CA: Sage Publications.
- Cutietta, R. A. (1991). Popular Music An Ongoing Challenge. Music Educators Journal, 77(8), 26-29.
- Dunbar-Hall, P., & Wemyss, K. (2000). The effects of the study of popular music on music education. International Journal of Music Education, (1), 23-34.
- Elliot, D. J. (1991). Action Research for Educational Change. Open University Press. Buckingham.
- Elliott, D. J. (1995). Music matters: A new philosophy of music education (Vol. 14). New York: Oxford University Press.
- Farrell, G. (2004). Mapping music education research in the UK. Psychology of Music, 32(3), 239-290.
- Folkestad, G. (2005). Here, there and everywhere: music education research in a globalised world. Music Education Research, 7(3), 279-287.
- Folkestad, G. (2006). Formal and informal learning situations or practices vs formal and informal ways of learning. British Journal of Music Education, 23(2), 135–145. Gass, G. (1992). “Why don’t we do it in the classroom?. In A. De Curtis (Edt.) Present Tense: Rock and Roll and Culture. Durham: Duke University Press.
- Green, L. (2005). Meaning, autonomy and authenticity in the music classroom (an inaugural professorial lecture). Institute of Education, University of London.
- Sakar, M. H. (2009). Popüler müzik ve müzik eğitimi. Journal of International Social Research, 2(8).
- Hargreaves, D. J., Miell, D., & MacDonald, R. A. (2002). What are musical identities, and why are they important. Musical Identities, 1-20.
- Jackson, P. W. (1968). Life in classrooms. Teachers College Press.
- Jorgensen, E. R. (2003). Transforming music education. Indiana University Press.
- Kertz-Welzel, A. (2004). Didaktik of music: a German concept and its comparison to American music pedagogy. International Journal of Music Education, 22(3), 277-286.
- Künzli, R. (2000). German Didaktik: models of representation, of intercourse, and of experience. In K. Riquarts, I. Westbury, & S. Hopmann, (Eds.), Teaching as a reflective practice: The German Didaktik tradition (pp. 41–54). London: Erlbaum.
- Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. Cambridge University Press.
- Lebler, D. (2007). Student-as-master? Reflections on a learning innovation in popular music pedagogy. International Journal of Music Education, 25(3), 205-221.
- Lewin K. (1946), Action research and minority problems, Journal of Social Issues, Vol.2, No.4, pp. 34-46.
- Merriam, S.B. (1998). Qualitative research and case study applications in education. San Francisco: Jossey-Bass.
- Nabukenya, J. (2012, January). Combining case study, design science and action research methods for effective collaboration engineering research efforts. In System Science (HICSS), 2012 45th Hawaii International Conference on (pp. 343-352). IEEE.
- North, A., & Hargreaves, D. (2008). The social and applied psychology of music. Oxford University Press.
- Sáez, M. J., & Carretero, A. J. (1996). From action research to the classroom case‐study: the history of ANTEC. Educational Action Research, 4(1), 29-46.
- Saldana, J. (2009). The coding manual for qualitative researchers. Thousand Oaks: Sage Publications.
- Vulliamy, G., & Lee, E. (Eds.). (1982). Pop, rock and ethnic music in school. Cambridge University Press.
- Weber, R. P. (1990). Basic content analysis (2nd ed.). Newbury Park, CA: Sage.
- Welch, G., Hallam, S., Lamont, A., Swanwick, K., Green, L., Hennessy, S., ... &
- Wemyss, K. L. (1999). From TI 1 to Tasmania: Australian Indigenous popular music in the curriculum. Research Studies in Music Education, 13(1), 28-39.
- Westerlund, H. (2006). Garage rock bands: a future model for developing musical expertise?, International journal of music education, 24(2), 119-125.
- Yin, R. K. (1999). Enhancing the quality of case studies in health services research. Health Services Research, 34, 1209.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Music |
| Journal Section | Research Articles |
| Authors | |
| Publication Date | December 19, 2022 |
| Submission Date | September 1, 2022 |
| Published in Issue | Year 2022 Volume: 5 Issue: 2 |
