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Reframing popular music composition as performance-centred practice

Moir, Zack; Medb�e, Haftor

Authors



Abstract

This article reports on a qualitative study of four undergraduate students specializing in popular music composition, and examines links and overlaps between three related areas: participants’ interpretations and definitions of the term ‘composition’; their use of music technology; and how they describe their professional identities and roles in the creation of popular music. Findings suggest that the concept and practice of popular music composition are intrinsically tied to music production and the creation of a sonic product or artefact. Participants describe their roles in the creation of their music as multifarious, and report that usage of music technology involves them simultaneously engaging in activities associated with music composition, engineering, production and, especially, performance. Consequently, the authors (both lecturers in popular music composition) suggest that teaching, learning and assessment in this area of popular music education should be based on understanding popular music composition as performance-centred practice.

Citation

Moir, Z., & Medbøe, H. (2015). Reframing popular music composition as performance-centred practice. Journal of Music, Technology and Education, 8(2), 147-161. https://doi.org/10.1386/jmte.8.2.147_1

Journal Article Type Article
Acceptance Date Apr 1, 2015
Publication Date Jul 1, 2015
Deposit Date Feb 21, 2017
Journal Journal of Music, Technology and Education
Print ISSN 1752-7066
Electronic ISSN 1752-7074
Publisher Intellect
Peer Reviewed Peer Reviewed
Volume 8
Issue 2
Pages 147-161
DOI https://doi.org/10.1386/jmte.8.2.147_1
Keywords composition; music education; performance-centred practice; popular music; production; technology
Public URL http://researchrepository.napier.ac.uk/Output/376088