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.
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.
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
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.
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.
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.
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.
