Welcome to the APME Memphis 2025 conference. Here, you’ll be able to register for the conference and update your Sched profile. The conference schedule will be available in late spring 2025. At that time, you can view the schedule and select the presentations you’d like to attend. If you have any questions, please visit our conference website or contact us at conference@popularmusiceducation.org We look forward to coming together as a community June 4–7, 2025.
This presentation builds on Hertzog and Hunter’s (2024) study of jazz programs in higher education to address the many ways that higher music education plays the role of anchor institutions for popular music. As anchors, higher music education’s faculty and students contribute greatly to local music scenes as active creators and participants, and increasingly, the academic study of popular music produces the next generation of consumers and fans. Unlike classical music and jazz, the anchor institution role of colleges and universities is significantly underrealized for popular music. This presentation explores dimensions for building those roles such as the economic, the cultural, and the social. In the economic anchor role, institutions focus on greater employment of popular musicians in faculty and guest roles. The cultural anchor concept highlights the deeper inclusion of popular music into curriculum both for music creators and for all types of students. Finally, in the social role, the institution supports and advocates for popular music culture beyond simply “following the trends”. It is critical that institutions of higher learning view themselves as instruments to nurture culture, especially in their ability to drive equity work in the music industry. This includes equity practices for students, faculty, and communities – all of which are tied to popular music practice. Finally, this presentation includes practices for faculty and administrators to support traditional higher education work (e.g., fundraising) in the context of supporting popular music in institutions.
Interest in modern band is growing among music educators (Dorfman 2020; Powell 2023). In any such emerging subdiscipline, it can be fruitful to locate exemplars of performance and pedagogy for study. This intrinsic case study (Stake 1995) follows the UMass Lowell Album Ensemble, an elective collegiate ensemble dedicated to the live performance of iconic pop and rock albums in their entirety. Each year the group adopts the name of one artist (e.g., “The Peter Gabriel Ensemble”) and performs two complete albums on stage, one at the end of each semester. The purpose of this study is to understand how students and teacher experience the semester-long process of recreating a classic popular music album and to contextualize its learning and artistic outcomes. I explore how idiomatic scoring techniques, rigor toward rock recording artistry, and informal learning processes contribute to students’ musical experiences and development. Data collection methods include observations of rehearsals and performances, semi-structured interviews with faculty and students, an audience exit poll, and analysis of artifacts such as annotated scores and rehearsal recordings. Reflective narratives from participants further illuminate their lived experiences. Data analysis employs categorical aggregation and direct interpretation, producing thick descriptions of the ensemble’s processes while suggesting broader implications for popular music education and performance.
Uncritical habits of mind, institutionalized cultural scripts, and the tools of whiteness contribute to an educational status quo of ‘educational niceness’ that marginalizes culturally and linguistically diverse students. The development of critical consciousness through critical reflection, discourse, inquiry, and action has the power to transform music classrooms by transforming the hearts, minds, and worldviews of the music educators within them. Enacting critical consciousness is characterized by critical reflection, inquiry, discourse, and action involving: (a) critical reflexive work on identity, (b) analysis of power and privilege in macro and micro contexts, and (c) the problematization of taken-for-granted assumptions. McDonough (2009) explained that critically conscious educators demonstrate, quote, “an overall ability to think critically about a variety of issues of power” and embrace “a critical edge in their work.” Kohli et al. (2019) found that “teacher development for critical consciousness must involve cultivating teachers with capacities to recognize, interrogate, and transform injustice.” This session will explore critical consciousness from both a practical and theoretical perspective, guided by the findings of the clinician's autoethnography on critical consciousness in music education. The autoethnographer found three major themes of ‘nice’ dysconsciousness: (a) uncritical habits of mind, (b) institutionalized cultural scripts, and (c) tools of whiteness for maintaining White comfort. Disinvestment from the ‘nice’ White lady identity was a rigorous critically reflexive process that involved: (a) an evolving worldview in which I learned to sit with my own discomfort in order to grow; (b) the deliberate and critically conscious disruption of institutionalized cultural scripts and; (c) resistance to the ideological, emotional, and performative tools of whiteness through enacted critical consciousness.
The Limewires from P.K. Yonge in Gainesville, FL are: Makayla Moss, a senior vocalist and songwriter, is scared of birds, but loves Burgs; Diego Hernandez, a 2nd year guitarist, vocalist, and songwriter who has released his first EP; David Demers, vocalist, guitarist, and newbie to the group plays music when not training for ridiculous athletic events; Luke Norcoss, a senior keys & bassist who hates Reeses?!?; Josh Guiterrez, our guitarist who missed his calling with Red Hot Chili Peppers; and Victor Malmgren, an imported Danish drummer who is working on borrowed time.
The ECCS Super Band is composed of Middle and High School students from the Eastern Carver County Schools. This group began as a WIN time activity during the 23-24 school year. Its intent was to open up creative space and perform rock and pop hits found outside of their band, choir, and orchestra repertoire. These high-achieving musicians have participated in regional and state honor bands, choirs, and orchestras and are excited to share their music and energy.
We live in a world of decreasing attention spans where entertainment media increasingly pervades our culture. Our students experience all of the “noise” of social media, tech devices, and other distractions throughout their day. In our classrooms, we are challenged to not only maintain their attention, but to also assure that the material we deliver in real time is retained and thoughtfully contemplated. Perhaps traditional means of presenting learning materials aren’t as useful as they once were. Understanding student expectations of what constitutes “good teaching” is key to an adoption of new practices. One possible approach to consider, especially among music business educators, could involve concepts we already teach. In many ways, what music fans expect from musicians and artists, particularly those that are successful, relate to what they expect from educators. In their performances, these stars have demonstrated how to engage (or not) audiences effectively. How could those practices also be applied in a classroom? Considering student observations and expectations of pedagogical practices, best practices, and current trends within academia, it’s interesting to compare those data to the practices of popular music artists. It might inform development of practices adaptable to classroom instruction. An understanding of how artists perform, how they are marketed, their fan interactions, and even how they create their content, might have application to teaching. Could success as a “rock star” in the music industry relate to a teacher’s success as a “rock star” in the classroom and within their academic environment?
Associate Professor, Music Business Program Director, University of Colorado Denver
Storm Gloor, MBA, is an associate professor and the program director of the Music Business department in the College of Arts and Media at the University of Colorado Denver and an instructor in the Business School as well. He was the recipient of the university’s 2018 Excellence... Read More →
Friday June 6, 2025 10:45am - 11:15am CDT Classroom 105 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
What does it mean to practice? We tell our students, “It’s Important “ “It is a requirement for the class” “It is important to the ensemble “ YES…all of these things are true. But when and how do students learn how to do this ? Who teaches them ? How do we engage students in learning that practicing their instrument or voice is more than just a chore or requirement for your class or ensemble. Using narratives from students from my school we will discuss what practicing means to them and the work that our music department is doing to model and encourage engaged practicing!
This session will explain and discuss the results from the first year of implementing The Record Company Game. Session participants will understand The Game Rules, The Rate Sheet, Timeline, Services Rendered Form, The Bank spreadsheet, and see student produced deliverables so they can implement The Game in their classrooms. Created by Barbara Freedman, the game is being played by students in the Greenwich High School Honors Electronic Music Composition & Studio Production classes. The purpose of the game is to give students real life experiences of what it is like to be an artist signed to a record company. Students play the role of the “artist” and be “hired” by the school Record Company for which they will receive a “Signing Bonus”. Students will produce professional level digital deliverables associated with the release of one musical recording (a “single”). Deliverables include the recording, social media posts, press releases, and other marketing tools. Students can earn “money” by doing work for other students the Record Company (Services Rendered). Bonuses and Late Fees may apply and are preset before the game begins according to the Rate Sheet. Prizes will be awarded for the student who engages the most number of students to work for them on their piece, the student who works for the most number of other students on their music, the composition itself, and other prizes that may be determined by the teachers along the course of the game.
Teacher/Adjunct, Greenwich High School/Montclair State U
Named the 2012 TI:ME Music Technology Teacher of the Year, Barbara Freedman has been teaching Electronic Music & Audio Engineering at Greenwich High School in Connecticut since 2001. She is the author of the book “Teaching Music Through Composition: A Curriculum Using Technology... Read More →
Friday June 6, 2025 10:45am - 11:15am CDT Classroom 101 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
Musicians and recording engineers have been confronted recently with a “significant increase” (Vanka et.al., 2023) of availability and use of artificial intelligence (AI) tools in music production. At their best, AI-powered programs are powerful tools for the creative process. Programs such as the LANDR mastering program, for example, use AI to produce professional grade master mix. However, some fear that AI could supplant creativity through creating a dependency on technology with predefined parameters. While discussing the future of music and sound technologies, Bindi et al. (2023) argued that deep generative models “lack the required intentionality to pursue a true creative act” (p. 6). Stem splitting and sonic isolation are other useful AI tools for recording. The release of Now and Then by The Beatles (2023), for example, may not exist if it were not for these AI powered tools. Additionally, programs such as AIVA use AI to generate music. Regardless of one’s stance on the usefulness of AI in the recording process, it is likely that the use of AI will become even more ubiquitous. Therefore, we must seek to learn what AI-powered programs exist that could be useful in music recording, and work towards the goal of integrating these programs creatively and ethically. In this demonstration, I will discuss the AI-driven programs that are most relevant to music recording, provide current examples of how AI is influencing the popular music recording landscape, and offer suggested best practices for the use of AI in music recording.
The world of copyright, licensing, publishing, and digital music is often confusing or even scary to music educators. "What do I need to know about copyright licenses for the music I teach?" “How do I make my music available to others outside the classroom?” This conversational presentation helps to clarify these questions, highlight available digital resources, and offers self-publishing solutions for music educators, especially if they are arrangers, composers, or songwriters themselves.
Scott Harris offers expertise gained over his two decades in the music publishing business and is currently Head of Education & Self-Publishing at Hal Leonard. Scott holds a Bachelor of Music degree in Commercial Composition & Arranging from Belmont University, and has been a publisher... Read More →
Friday June 6, 2025 10:45am - 11:15am CDT SPAC - Hodges Choral Room3800 Central Ave, Memphis, TN 38117
At the heart of Hip Hop culture lies the practice of "digging in the crates," a term that refers to the art of exploring old vinyl records to uncover hidden melodies, rhythms, and sounds that can be sampled to create new compositions. This process has been integral to Hip Hop since its inception, as it connects past musical traditions with contemporary innovation. As a beat maker with over 25 years of experience, I’ve spent countless hours sifting through records from a wide variety of genres, discovering rare and often overlooked samples that form the foundation of my beats. Each crate dig is an opportunity to find a new sound or piece of history that can inform and elevate a composition. In this demonstration, participants will have the chance to observe firsthand how a beat maker listens to, chooses, and samples recorded material from vinyl records. They will see the process of identifying the most fitting and unique elements of a track that can be repurposed into something entirely new. Afterward, the audience will witness a condensed version of how these samples are layered, manipulated, and transformed to create a complete Hip Hop beat. By sharing both the music and the deeper insights behind the creative journey of the dig, I hope to provide the audience with a deeper understanding of how a Hip Hop producer listens to and engages with music, emphasizing the artistic value of this distinctive perspective.
Beyond catchy melodies and powerful lyrics, song form plays a vital role in shaping a listener's experience and connection. This presentation will explore the structural blueprints behind some of music’s most successful hits, unpacking the song forms that have captivated audiences across decades. From strophic to AABA to the straightforward verse-chorus patterns to the sometimes unpredictable structures of modern pop, this presentation will dive into how form has evolved—and why, when teaching songwriting, form can be one of the strongest tools to help students both engage with songwriting and write great songs. Song form is more than just a musical framework; it’s a narrative tool that invites listeners into a journey. How does a well-placed bridge or a powerful chorus bring emotional impact? What makes one song structure feel timeless, while another sounds fresh? Using examples from various genres, this presentation will examine the ways in which song form helps listeners make sense of music, guiding their attention, building anticipation, and delivering payoff. This session offers insights and practical approaches to teaching song structure’s influence on the listening experience as well as how to use song form when teaching songwriting.
This session takes a look at popular music and jazz education in Finland. First, I briefly present the history of the Pop & Jazz Conservatory in Helsinki which was one of the first institutions for popular music learning in Northern Europe in 1972. Second, I share an insider’s view of the current education at the Pop & Jazz Conservatory since I am a full-time lecturer at, and former student of, the affiliation. Third, I look into the future as I discuss my pedagogical research (Wahlström 2022), conducted at that institution. Based on my long pedagogical experience, I developed a fresh approach to actualizing student-centered instrumental popular music education. I call this innovative pedagogical design Student-Centered Musical Expertise. Why could this be important to an American and international audience? Finland is traditionally known as a superpower of education (e.g., Economist 2019; OECD 2019). In classical music, it has a long history in organizing cutting-edge education. This shows in the country’s unique system of extra-curricular after-school music schools as well as its free vocational and university studies that are publicly funded. Importantly, this background formed a firm breeding ground for popular music education (PME) when it emerged in the early 1970s and has developed ever since. Consequently, in 50 years’ time PME has spread like wildfire across the country, which has crucially elevated the level of pop musicians. I suggest that this history, current practices, and potential of PME in Finland could inspire educators to keep building the future of PME everywhere.
Electric Guitar Pedagogue, PhD, Helsinki Pop & Jazz Conservatory
Kristian Wahlström, PhD, is an established guitarist and has played professionally for over 20 years in the Finnish music scene. As a freelancer, he has performed live with, e.g., Michael Monroe (Hanoi Rocks) and Perttu Kivilaakso (Apocalyptica) as well as recorded with Darude among... Read More →
Friday June 6, 2025 11:30am - 12:00pm CDT Classroom 113 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
This presentation, led by a K-12 music supervisor and a school administrator, will give an overview the practical steps involved in establishing a new music course within a school district. We will explore the critical initial phase of course conception, from identifying a curricular need to defining specific learning objectives. Next, we will discuss the process of course development, including curriculum design, lesson planning, and material selection. We will emphasize the importance of aligning the course with relevant state and national standards, ensuring that it meets the diverse needs of all students. The presentation will also address the logistical considerations necessary for course implementation. This includes securing necessary approvals from district administrators and acquiring adequate resources and funding. We will share effective strategies for communicating the value of the new course to stakeholders, including parents, teachers, and community members. Finally, we will examine strategies for assessing student learning and evaluating the overall effectiveness of the new course. We will share our own journey of integrating an enhanced music elective into the Computer Science initiative of the SmithTech Lab School.
Osceola Rocks! is a dynamic, student-based band program at Osceola Arts that nurtures young musicians in developing their skills, confidence, and passion for performance. This program provides a creative platform for Osceola students to explore various genres, including rock, pop, and fusion music. With students aged 8-19, Osceola Rocks! emphasizes collaboration, musicianship, and stage presence, fostering a sense of community and artistic growth. Students perform at local events, sharing their talents with the community and inspiring audiences of all ages. Osceola Rocks! celebrates the power of music to unite, educate, and empower the next generation of performers.
Fine and Performing Arts Resource Specialist, School District of Osceola County
Christopher Burns is currently the Fine and Performing Arts Resource Specialist in Osceola County, Florida. He received his B.M.E. from the University of Central Florida and his M.M.E. from Boston University and holds a PhD in Music Education from the University of South Florida with... Read More →
This research presents a critical examination of the UK Singles Chart (colloquially known as ‘the charts’). The research will consider how the charts present a cultural consensus on what is deemed to be popular and of use-value, the politics of challenging this consensus, as well as how charts influence popular music heritage and an understanding of the past. Charts encapsulate and promote cultural relevance and importance. For chart entries, it creates a historical context away its structural and compositional makeup. The story of the UK Singles Chart spans over 70 years of cultural history, and though the chart has served to reflect and influence popular music and societal shifts throughout this period, its function within popular culture is seldom explored directly in academia. This, arguably, is an unusual occurrence given how charts are crucial in both representing the taste of audiences while perpetually promoting chart entries even further. Though sales and consumption charts are not unique to the UK, the research will also detail how the British public embraced the charts as light entertainment, especially during its formative years, when charts were not just mechanism to present data but a weekly cultural event worthy of attention. 2025 will mark seventy years since ‘Rock Around the Clock’ reached number 1 in the UK Singles Chart – the first American rock ‘n’ roll record to grace the UK’s top chart position. Amidst fellow UK chart toppers by adult-orientated singers such as Eddie Calvert, Alma Cogan, and Rosemary Clooney, its chart success symbolized changing times, youth culture disrupting the status quo, with the charts serving to document and further propagate these revolutions.
In a 1959 Esquire article, writer Ralph Ellison stated that “the jam session is…the jazzman’s true academy, ” referring to the legendary jam sessions at Minton’s Playhouse in Harlem during the early 1940s. Ellison explained that at the time, jam sessions were where jazz musicians learned “tradition, group techniques, and style.” Jam sessions have continued to exist since then and have branched out into other styles, like blues, classic rock, and funk, but are now better known as “open jams.” But unlike jazz in the 1940s, musicians can now learn popular music at a school. I have witnessed the powerful transformations that occur during open jams and believe they are fertile ground for musicians to hone their skills and talents. But recently, I have wondered how current popular music pedagogies could benefit from lessons learned at open jams. How do we best connect modern band, open jams, and PME? This presentation will draw on my experiences as a frequent attendee of open jams and as a popular music educator. I will describe where open jams and PME align, where they conflict, and suggest strategies on how they can complement one another to create a better “true academy.”
This presentation shows how hit songwriters and producers create musical focal points or “hooks” in pop songs. Numerous chart hits (spanning 1955 to 2024) will illustrate specific focal point devices, covering all aspects of music, including rhythm, melody, harmony, form, and timbre. Of particular interest is the musical quality of tension and resolution. Tension typically builds at the end of one section (verse or pre-chorus), grabbing the listener’s attention. This highlights the resolution at the beginning of the next section (usually a chorus), helping us remember whatever musical elements or lyrics occur at this point. The presentation starts by discussing short “hook phrases” (both instrumental and vocal), then the larger variety of hooks called “focal points,” starting with simple devices that help highlight or mark the chorus. Following this are five categories of focal point devices — 1. Rhythmic Tension/Resolution devices, including stop time (before chorus or song title phrase), suspension of the main groove, and moving from disjointed to solid rhythm patterns. 2. Harmonic Tension/Resolution devices, including the V to I cadence (verse to chorus), and the avoidance of the I chord. 3. Repetition devices including repetition of a single pitch in the melody, and the repetition of a short melodic phrase. 4. Ascending pitches in the melody. 5. Contrast in melodic contour. The entire presentation can be found on my website learnpoptheory.com. Just see the free sample for my book, "The Art of the Hook," (“Look Inside” button in the middle of the home page).
This session offers music educators an accessible introduction to the contemporary tools and techniques of DJ culture, tailored specifically for elementary and secondary classrooms. Participants will gain practical insights into selecting affordable and effective hardware and software, designing engaging curriculum, and developing assessment strategies that align with educational goals. Beyond the technical, this session situates DJing within a culturally responsive framework, illustrating how it connects to students’ lived experiences and fosters inclusivity. The session also examines how DJing embodies the National Core Arts Standards, with particular attention to the often-overlooked process components of creating and connecting. Educators will explore how to engage students in composing and improvising through DJing, while making connections to cultural contexts and personal expression. Whether you’re new to DJing or looking to expand your teaching toolkit, this session equips you with the knowledge and confidence to bring this vibrant art form into your classroom, inspiring the next generation of creators
Eli Yaroch spearheaded the creation of MusicReach Contemporary, a transformative program designed to provide underprivileged students with access to quality music education. Launched with a $25,000 grant, this initiative expanded the Shalala MusicReach program to include a dedicated contemporary music department. MusicReach Contemporary operates as a two-hour program tailored to foster musical growth and collaboration. In the first hour, students receive personalized lessons in a 2–5:1 student-to-teacher ratio, focusing on voice, guitar, bass, and drums. The teaching team, comprising four instructors, ensures each student receives focused, skill-based training. The second hour transitions into a band session, where students form two bands guided by the program’s administrator and teachers. This collaborative environment encourages creativity, teamwork, and real-world music-making experiences. Under Yaroch’s leadership, the program has grown from serving five students to over 50, providing invaluable musical opportunities to children from underprivileged backgrounds. MusicReach Contemporary not only develops technical and creative skills but also fosters confidence and a sense of belonging among participants. This innovative approach to contemporary music education exemplifies the power of focused, inclusive programming in bridging gaps in access to arts education. By integrating individualized lessons and ensemble-based collaboration, MusicReach Contemporary equips students with the skills and experiences necessary to thrive in music and beyond, setting a new standard for popular music pedagogy in community-based education programs.
Every musician isn't a DJ, but musicians know how a good DJ moves a crowd. This proposal explores how music educators can transfer their skills in selecting music to choosing effective technology tools for the classroom. Music educators are trained to thoughtfully select music that engages students, fosters creativity, and supports educational goals. This same skill set can be applied when choosing technology, ensuring that tools are not only functional but also engaging and pedagogically valuable. The session will focus on three key areas of overlap between music selection and tech tool selection. First, creativity and flexibility: just as music educators select pieces that encourage creativity, tech tools should inspire innovation and critical thinking. Second, engagement: music is chosen to captivate students, and similarly, tech tools should prioritize student engagement, encouraging active participation in the learning process. Finally, educational value: music selection aligns with curricular goals, and the same approach should be used when evaluating tech tools to ensure they contribute to student learning and growth. By drawing parallels between music selection and tech tool selection, educators will gain a deeper understanding of how to make informed, intentional choices when integrating technology into the classroom. This approach will empower educators to select tools that enhance teaching practices, improve student experiences, and align with their educational objectives
SoundScape is Briarcrest Christian School’s premier commercial music ensemble. Founded on Jazz, Rock, Blues and popular music rooted in the rich musical culture of Memphis Tennessee, SoundScape is distinctly cutting edge in its content and approach, and embraces the principal musical movements of our time. Integrating live performance and studio recording, SoundScape performs a variety of musical styles, utilizes relevant technologies, and exposes its members to college and professional opportunities open to today's musician.
Director of Instrumental / Commercial Music, Briarcrest Christian School / The Univ. of Memphis
Michael Parsons, serves as the Director of Instrumental and Commercial Music at Briarcrest Christian School. Michael directs the Briarcrest Symphonic Band, Briarcrest’s commercial music ensembles, SoundScape and 76-South, Studio 73 Record Label and oversees all aspects of Briarcrest’s... Read More →
This session will focus on the transformative power of participatory music-making in fostering social-emotional development, enhancing musical fluency, and embedding culturally and linguistically sustaining practices (CLSP) in the classroom. Designed for educators across disciplines, the session will invite teachers to explore the value of integrating participatory music-making activities into their curricula. Through collaborative, real-time music creation, students can enhance their musical skills, build community, and develop critical thinking and growth mindsets, all while placing creativity and cultural identity at the center of their learning experience. Rather than relying on a traditional, performance-based teaching model, this session advocates for a facilitation-based approach where educators guide students through creative processes, encouraging experimentation, reflection, and personal growth. This shift promotes a student-centered learning environment where students take ownership of their creativity and are empowered to express their cultural and linguistic identities through music-making.
Popular music has transformed the way in which our society has learned about the impact of culture in the lives of Americans. How is popular music celebrated in the halls of our schools and more importantly in music classrooms? This session will highlight the journey of comprehensive infusion of popular music in the K-12 Music Ecosystem. Participants will explore methods to maximize the standards music genres post 1950-Present and embrace culture to support students in becoming arts appreciators. Highlights on the infusion of the ukulele program in Grade 3, explore ways to launch Modern Band and celebrate DJ culture & Hip hop, pop, Salsa, Rock and so much more!
Join us for an insightful journey behind the scenes of a recent #1 hit and discover actionable, innovative methods to bring modern music theory into your classroom. In this dynamic and interactive session, you will engage in a comprehensive, hands-on deconstruction of a recent Billboard Hot 100 #1 hit. Through a series of guided exercises, you’ll use the Hit Songs Deconstructed tools to analyze and visualize the song’s core musical elements—including hooks, melody, lyrics, rhymes, arrangement, and more—uncovering the foundational patterns and techniques that contribute to its success. Along the way, you’ll also explore cutting-edge approaches to teaching “pop theory.” The Hit Songs Deconstructed methodologies and visualization tools offer a fresh perspective on distilling complex music theory concepts into formats that are both accessible and engaging for students. By the end of the session, you will have gained innovative strategies and a practical framework for making music theory more relevant and engaging. Whether you teach songwriting, production, or music theory, these tools and techniques will empower you to help students connect with contemporary music on a deeper level—enhancing their critical listening skills and fostering greater creativity.
In this interactive 45-minute workshop, participants will explore practical and engaging approaches to integrating songwriting into classroom settings. Designed for educators of all musical backgrounds, this session will simplify the process of songwriting, making it accessible, enjoyable, and effective for students of all skill levels. Participants will be guided through key principles of songwriting, including developing ideas, selecting song forms, crafting lyrics, and creating basic chord progressions. The workshop emphasizes collaboration, demonstrating how students can work together to generate creative content quickly and confidently. Attendees will participate in a hands-on experience, collaborating to write several original songs during the session. These activities are designed to reflect real classroom scenarios, providing strategies that attendees can adapt to their unique teaching environments. “Songwriting for Classrooms Simplified” aims to demystify the creative process and empower educators to foster creativity, self-expression, and student engagement in their classrooms. Attendees will leave with ready-to-use tools, step-by-step frameworks, and newfound confidence to introduce songwriting projects that align with curriculum goals and resonate with students’ interests. By the end of the session, participants will have gained practical insights into streamlining the songwriting process and experienced the transformative power of music-making in a collaborative setting. Whether teaching in traditional music programs, modern band settings, or general education classrooms, this workshop will provide strategies for bringing songwriting to life.
The progress of popular music programs in the last decade have been the cornerstone and development of aspiring artists, songwriters, and music business careers. Modern degree programs are reflexive, designed in tandem with current industry trends and practices while incorporating modern academic and performative experiences. At times, this bespoke approach can be isolating, creating a silo whereby students pursuing the more traditional practices of classical or jazz music are unable to collaborate and create with their contemporary/popular peers. Unsurprisingly, the results such a collaboration are innovative and rewarding. Incorporating classical instrumentalists into popular music ensembles at the collegiate level bridges stylistic gaps, fosters musical versatility, and enriches creative collaboration. This presentation explores strategies for effectively blending classical instrumental timbres and textures with the dynamic energy of popular music, providing a new framework for both educators and students. While classically trained musicians often bring technical proficiency, interpretative depth, and unique tonal colors to contemporary ensembles, they may face challenges adapting to improvisation, rhythmically driven styles, and amplified settings. Furthermore, we will examine how classical musicians become involved in the writing and creative process. Conversely, popular music students gain exposure to the nuanced expression and discipline of classical traditions. The presentation examines practical solutions to these challenges, including writing/arranging techniques that blend classical and popular textures, fostering an understanding of diverse music genres, and designing ensemble formats that encourage mutual learning. As director of the Frost School’s Coffeehouse Ensemble, I will use select footage from our most recent showcase to share and discuss the process and journey of recruiting, integrating, and rehearsing a contemporary ensemble comprised of popular singer/songwriters and classical instrumentalists.
It is widely acknowledged that artificial intelligence (AI) is “the most outstanding and strategic technology for the 21st century” (EC, 2018). In music making and education, AI is still in an embryonic state, with both enthusiastic adopters and resistant detractors. However, as educators, it is crucial to understand this new technology and its ramifications for current and future generations of musicians. Dr. Tom Collins and Dr. Raina Murnak received a grant in 2023 to deal with these issues. In this presentation, we will introduce some of the key issues facing both educators, students, and music creators and discuss a project called CHAI (Concerts with Humans and Artificial Intelligence). The CHAI project’s elements include instruction of AI tools, measurements of student self-efficacy and affect, co-created AI composition and performance, research papers on new platforms for co-created music, work with external artists, the creation of a curriculum, and a collegiate ensemble. Our stakeholders consist of differing demographics of musicians including middle and high school, collegiate, and professional. We will give a brief overview of the tools used in this project including stem splitting, voice emulation, beat generation, lyric generation, and text to audio and describe some of the activities with which our cohorts are engaged.
News reports have indicated that the number of hit songs by bands have declined over time. Possible reasons for this are organized into five theoretical areas: a decline in the popularity of rock, technology allowing for solo projects, social media rewarding individuals, financial incentives being better for solo artists, and record labels not being interested in bands. Within these reasons, a portion of the blame has been pointed toward Spotify and their use of algorithms. A data set of the top 20 songs from Billboard’s annual Hot 100 chart for the years 1961 to 2023 was constructed and ordinary least squares was employed to test whether or not this decline in hits by bands had actually occurred. Next, a two sample t-test and the Mann-Whitney test was used to determine whether Spotify could be to blame. It was found that the number of hit songs by bands has had a statistically significant decline over the years included in the study. However, Spotify is not to blame for this decline as the trend began years before Spotify came to the U.S. There is evidence that points to changes in consumer tastes and preferences as the decline in hit songs by bands correlates to an increase in the number of hits made with collaborations, in particular an increase in hip-hop songs utilizing collaborations.
Having evaded majoring in music as an undergrad student at Vassar College due to the exclusion of popular music in the curriculum, I took a roundabout path to becoming a community college music professor only to find myself straddling parallel universes in the form of my open admission community college and the ultra-elite Ivy League through Princeton University’s Community College Faculty Program. In this session I explore how different approaches from disparate institutions can inform our inclusion of popular music education for a variety of students at all levels. The session will speak to this year’s conference theme focused on “History, Culture and Society in Popular Music” by comparing historical and current attitudes towards the inclusion or exclusion of popular music through the lens of my experiences as a student in a suburban New York public school system, at Vassar College and at Princeton, and as a professor at Bergen Community College in New Jersey. I will explore past and present course and content offerings at these institutions and how the philosophies and practices of these institutions affect student participation in music programs and empower or alienate students’ artistic expression and overall appreciation of the role of music in society.
What are the most useful keys and chord progressions a pop student musician should be able to play by ear? Knowing this could accelerate the progress or confidence of young student musicians to play in outside contexts (jam bands, pick-up bands, jam nights, etc.).
My name is Brian Wansink, and I’m a retired Cornell marketing professor who has published best-selling books and 200-some journal articles. Now, as a later-life musician, I play sax in a Motown band (and in a Grateful Dead band), and I research how popular music can be used to encourage... Read More →
Friday June 6, 2025 2:30pm - 2:40pm CDT Classroom 101 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
This group is a course for students who wish to perform in the University of Pikeville Bluegrass Ensemble. This ensemble is a bluegrass band format and performs at UPike special events, concerts and other off-campus performances throughout the year. Instrumentation includes: upright bass, guitar, mandolin, banjo, vocals, and other instruments as needed. Music is selected and arranged by students and is typically based on the instrumentation, make-up of the group, and performance opportunities.
The one constant in the music industry is change. At the university level, a contemporary music industry program requires elements that provide visibility into these dynamics. As music, media, and technology continue to converge, training needs to go beyond preparing students for fields in traditional recorded music environments, but across the industry of the arts. At Monmouth University, we've updated our program to stay in lockstep with this dynamic business. One of those components is Blue Hawk Records, the student-run record label. Blue Hawk Records carries out the functions of a commercial recording company, with students holding all requisite roles and positions inherent in the corporate model. Students are able to capitalize on this specialized experience as they participate in talent scouting, performing and recording, artist management, development, and live music promotion, as well as artwork, packaging, marketing, sales and distribution in all channels. Consequently, students encounter and must scale the types of business decisions, challenges, and protocols inherent in the industry. Such a model requires a hands-on and active management team to form around the mission of producing an album, with all its challenges and benefits. Modes of critical thinking are engaged, as students are required to evaluate the full range of considerations, (both tactical and strategic) that when integrated, culminate in a viable production process, and yield a recording of which all can be proud, and that obtains worldwide visibility, sales, and streams. The student-run record label has released 28 albums since its inception in 2013. As an innovative part of the Music Industry degree program at Monmouth University, Blue Hawk Records offers an immersive and collaborative opportunity for students to obtain real-life experience in the various aspects of a recording business venture. This presentation will discuss the context and rationale for developing the student-run record label initiative, along with the methods, outcomes, and challenges of this flagship university program. Attendees will learn how schools might develop and benefit from establishing a similar program.
This panel assembles a group of music educators, scholars, and practitioners to critically examine the complex landscape of music education, focusing on the critical intersection between traditional academic approaches and popular musical forms. By bringing together diverse perspectives from ethnomusicology, contemporary pedagogy, and performance practice, the panel aims to deconstruct long-standing barriers that have traditionally separated classical and popular music curricula. Participants will delve into the historical contexts that have shaped music education, exploring how institutionalized approaches have often marginalized non-Western and contemporary musical expressions. The discussion will address the evolving nature of musical literacy in a globalized, digitally connected world, where students increasingly engage with hybrid and multicultural musical experiences. The panel will highlight innovative pedagogical strategies that embrace musical diversity, emphasizing collaborative learning, interdisciplinary approaches, and student-centered methodologies. Practical recommendations will be presented for developing inclusive curricula that recognize the value of multiple musical traditions, from classical symphonic works to jazz, rock, electronic, and world music genres. By challenging existing paradigms, this panel seeks to inspire educators to create dynamic, responsive learning environments that reflect the rich complexity of contemporary musical culture.
Director of Instrumental / Commercial Music, Briarcrest Christian School / The Univ. of Memphis
Michael Parsons, serves as the Director of Instrumental and Commercial Music at Briarcrest Christian School. Michael directs the Briarcrest Symphonic Band, Briarcrest’s commercial music ensembles, SoundScape and 76-South, Studio 73 Record Label and oversees all aspects of Briarcrest’s... Read More →
Anyone can be an arranger. Couple aural skills with general musical knowledge, and you can immediately become an arranger or composer. You can increase your value exponentially and go from making standard contractor pay to arranger pay with possible residuals. Arranging, though, is nearly impossible without some functional knowledge of modern harmony, traditional and modern notation, and understanding of musical instrument families. Broad and varied stylistic experience is also crucial. Basically, if you're a musician who can read and who listens a lot, you've got a head start. Let's talk about the other things necessary.
The concept of a co-constructed curriculum, a novel approach that involves collaboration between teachers and students in secondary schools, is gaining traction. This shift is a response to education policies influenced by neoliberal ideologies. Discussions on student voice, agency, equity, and personalised learning are key to fostering inclusive and dynamic learning environments. Our workshop delves into the advantages of amplifying student voices in the classroom and equips you with practical strategies to engage students as active participants in their learning journey.
The workshop is an interactive session grounded in the principles of participatory education and democratic engagement. It provides a framework for understanding student voice initiatives and, importantly, offers a platform to share your experiences and research strategies. This collaborative approach supports the creation of platforms for student expression, involvement, and a sense of belonging.
Key elements of the workshop include:
- Foundations: Understanding the varying roles of student voice within education policy and practice. - Implementation: Strategies for creating platforms for student expression and participatory decision-making processes. - Discussion: Analysing successful models from diverse educational settings that effectively integrate student voices and discuss challenges and solutions.
The aims of this workshop are to: - Understand the theoretical and practical aspects of student voice in education. - Have discussed practical tools and strategies to utilise student voice within their context. - Have networked with other educators and researchers, sharing insights and experiences that can inform future practice.
This workshop is designed for researchers and educators committed to creating responsive, student-centred educational systems.
Music technology and production classes are, thankfully, becoming more prevalent within secondary schools. However, with a more general student population comes a greater need to diversify instruction and curriculum support for students with disabilities and various levels of English language proficiency. Without such supports, the classes that are meant to give students voice, choice, and meaningful musical engagement in their school day will fall short and potentially drive them away from making music in the future. Teachers can include everyone in the learning and making process with a variety of methods including visuals, translated handouts, color-coding, sheltered English immersion, partner work, peer mentoring, community-building, adaptive instruments, creative vocalizing, symbolic notation, fun use of audio effects, individualized projects, choice boards, and more! In this session, educators will be introduced to a wide variety of accessible teaching methods and materials for music technology and production, then collaboratively create materials to suit their specific needs. Educators will also learn how to effectively manage their preparation and in-class time with students to create and use adaptive and accessible materials. As a result of educators developing these skills and resources, their students will be more engaged, learning environments will be more productive and fun, and more students will make music that is meaningful to them.
