Music Industry Higher Education by Darren Walters https://padlet.com/dwalters3/u5vlcswodklq Darren Walters EDGI508 en-us 2017-01-31 00:44:31 UTC 2025-12-07 20:59:04 UTC hello@padlet.com https://padlet-assets.s3.amazonaws.com/icons/Simplehouse.png Problem Statement dwalters3 https://padlet.com/dwalters3/u5vlcswodklq/wish/150418026 My research endeavors to explore the level of exposure undergraduate Music Industry students in the United States receive in regards to alternate, peripheral and non-US industries, music, culture and perspectives through existing curriculum.  Given that the music industry is a global industry that encompass multiple nations, ethnicities and cultures and includes multiple perspectives, creative locations and business centers that ebb and flow over time, it is essential that undergraduates studying the field gain knowledge of these areas in order to establish themselves as, and remain, globally competent.]]> 2017-01-31 00:46:08 UTC https://padlet.com/dwalters3/u5vlcswodklq/wish/150418026 Research Questions dwalters3 https://padlet.com/dwalters3/u5vlcswodklq/wish/151580188
  • What is the pedagogical importance of learning material inclusive of other perspectives?
    • How can understanding multiple perspectives contribute to the understanding of the music industry?
  • How have existing Music Industry curriculums been shaped and how are they currently structured?
    • How do Music Industry teachers view the importance of multiple perspectives to their teaching?
    • Do Music Industry teachers knowingly/unknowingly promote or restrict knowledge?
    • Who decides curriculum content?
    • How do students perceive the importance of multiple perspectives?
  • What key issues will impact the music industry in upcoming years in which professionals entering the field should be knowledgeable?
    • How will these impact music industry curriculums?
  • Do non-curricular opportunities exist for students to partake in expanding their knowledge of multiple perspectives, such as international co-ops or study abroad?
    •  Do students participate in these?  Why or why not?
    • ]]>     2017-02-03 22:57:40 UTC https://padlet.com/dwalters3/u5vlcswodklq/wish/151580188     Research Approach dwalters3 https://padlet.com/dwalters3/u5vlcswodklq/wish/151580198 My research aim is embedded in the idea that music industry curriculum must adapt in order to provide a holistic account of the global music environment in addition to the those that are also locally under-represented.  I therefore cannot shake the idea that I am, as Lincoln, Lynham & Guba (2011) call, a “’Transformative intellectual’” (p.101) who attempts to seek change from the results of research.  Thus, Critical Theory emerges as the best approach in which to proceed with my research agenda.  Under this paradigm, I will be able to understand and unleash knowledge that has been previously invisible or underserved in elite music power centers and post-secondary institutions. ]]> 2017-02-03 22:57:57 UTC https://padlet.com/dwalters3/u5vlcswodklq/wish/151580198 Methods of Data Collection & Analysis dwalters3 https://padlet.com/dwalters3/u5vlcswodklq/wish/151580233
  • Dialectic / Dialogic: Engage in open-ended interviews with teachers, program directors, department heads and students to assess how multiple perspectives are implemented, taught and perceived in music industry higher education.
  • Observation: Observe classes for examples of the inclusion of the existence of content, presentations and conversations of non-dominant cultures.
  • Material Review: Collect and review documents such as syllabi, presentations, curricula items, pamphlets and any information that will help determine multiple perspectives offered or contained in curricula.
    • ]]>     2017-02-03 22:58:42 UTC https://padlet.com/dwalters3/u5vlcswodklq/wish/151580233     References dwalters3 https://padlet.com/dwalters3/u5vlcswodklq/wish/151580282 Lincoln, L., Lynham, S. & Guba, E. (2011). Paradigmatic Controversies, Contradictions, and Emerging Confluences, Revisited”. In Denzin & Lincoln (Eds.), The Sage Handbook of Qualitative Research (pp. 97-128). London: Sage.]]> 2017-02-03 23:00:10 UTC https://padlet.com/dwalters3/u5vlcswodklq/wish/151580282 Research Sources dwalters3 https://padlet.com/dwalters3/u5vlcswodklq/wish/151580317 Baumgartner, L. M. and Johnson-Bailey, J. (2008), Fostering awareness of diversity and multiculturalism in adult and higher education. New Directions for Adult and Continuing Education. 2008: 45–53. doi:10.1002/ace.315
     
    Bradley, D. (2006). Music Education, Multiculturalism, and Anti-Racism-Can We Talk? Action, Criticism & Theory for Music Education. 5:2, 1-30.  Retrieved from http://act.maydaygroup.org/articles/Bradley5_2.pdf
     
    Bradley, D. (2007). The Sounds of Silence: Talking Race in Music Education. Action, Criticism & Theory for Music Education. 6:4, 132-162.  Retrieved from http://act.maydaygroup.org/articles/Bradley6_4.pdf
     
    Bruenger, D. (2015). Complexity, adaptive expertise, and conceptual models in the music business curriculum. MEIEA Journal, 15(1), 99-119. Retrieved from http://www.library.drexel.edu/cgi-bin/r.cgi/login?url=http://search.proquest.com/docview/1749281436?accountid=10559
     
    Kopplin, D. (2016). Best practices in music industry education. MEIEA Journal, 16(1), 73-96. Retrieved from http://www.library.drexel.edu/cgi-bin/r.cgi/login?url=http://search.proquest.com/docview/1853303732?accountid=10559
     
    Spring, J. (2008), Research on Globalization and Research. Review of Educational Research. 78(2), 330-363. doi:3102/0034654308317846
     
    Stewart, V. (2010). A Classroom as Wide as the World. In H.H. Jacobs (Ed.) Curriculum 21: Essential Education for a Changing World (pp. 97-114). Alexandria, VA. Retrieved from http://site.ebrary.com.ezproxy2.library.drexel.edu/lib/drexel/reader.action?docID=10379928&page=108&ppg=108
     
    Van De Bunt-Kokhuis, S. (2004). Globalization and the Freedom of Knowledge. Higher Education in Europe. 29:2, 269-284.  doi: 10.1080/0379772042000234910
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