HIP-HOP’s FUTURE #HIPHOPMUSICED

  

#hiphopmusiced today is dedicated to learning more about the future of hip-hop. In the featured picture, you will see the tremendous variety of great emcees (musicians/lyricist) in whose hands lay the future of the culture. As a music educator, I am always looking to be able to recognize the contemporary in art. I endeavor to know the most I can about the current trends and artist of the culture. These are but a few of the great new update hip-hop artist shaping the direction of, and voicing the issues of the American experience. #kendricklamar #dejloaf #bigkrit #joeybadass #actionbronson #frankocean #jcole #hiphopfuture #hiphop 
   
    
    
   

How Do Music Teachers Use Hip-Hop Music in Their Classrooms?

I have been reviewing the literature on hip-hop pedagogy and its uses in the music classroom, and many of them see the use of hip-hop music and culture primarily as a means to foster intertextual and subjectivities within the domain of literacy, the written word. However, there are a few scholars that have written about the potential for the music’s use within music education. These music education scholars are Greg Dimitriadis and Adam Kruse. There a plethora of scholars (Akom, Morrell, Duncan-Andrade, Emdin, Soderman, Folkestead, etc) from a variety of educational areas that have written about hip-hop’s pedagogical uses in the classroom, but the focus of these articles are main centered on the cultural relevance and understandings that are created when teachers and students interact with hip-hop. I am interested in finding what is happening in the music classrooms all-around America in regard to the uses of hip-hop music and culture. Why is there a huge gap in the literature in regard to the uses of hip-hop in the music classroom, and what does this mean for its future uses?

I started to dig further and found that my initial response was one of disdain toward to the academy for not valuing the music that I so loved. I later started to wonder why there really wasn’t any data reflecting a serious study of the music’s effects on music education. Where was the empirical data? Where were the studies demonizing or reaffirming the power of the music within the walls of k-12 or post secondary school? I search and I searched and found that the researchers writings mainly reflect the experiences and interests that they have. I know anecdotally that there are teachers all across American that use hip-hop music culture in their classrooms, but no one has really taken the time to report it. Most practitioners are busy doing, and most researchers are busy experiencing and chronicling the outcomes. There are areas that are not communicated by either group. Hip-hop is one of those areas. Sam Seidel wrote a powerful book called “Hip-Hop Genius: Remixing High School Education” which recounts the story of a successful arts program in Minnesota that uses the study of the culture as a means to educate youth. So, I know that if there is one model for the infusion of hip-hop into music education there must be at least one more. As the demographic of the teaching forces changes over the next 20 years, we must be prepared to change the types of ensemble formats that pre-service teachers have access to while in college. The average 18-25 year old student is part of the post-hip-hop generation, and even if there are not huge fans of the music or culture, they have never none a time when the music did not exist. I often relate to those who know me well, that I didn’t know any Beatles music until I was in the early thirties, because the experiences and music I had at school and home were heavily influenced by Stevie Wonder, Andre Crouch and many jazz legends. So, what would my conception of relatable music and musical experiences have been if there was band or ensemble at school that was part of my enculturation as a educator? I can also recount my visit to Dillard School of the Arts in Fort Lauderdale, FL. They have recording arts program headed by one Israel Charles has developed a great program around the use of music technology to do project based learning. There have been several successful hip-hop artist that have come out of the program, as well as musicians and lovers of music that have graduated from that program, myself included.

So, how do music educators use hip-hop in their classrooms? According to Kruse (2014) and Dimitriadis (2009) there are currently three forms of Hip-hop pedagogies that have been identified by scholars 1) hip-hop as a bridge 2) hip-hop as a lens and 3) hip-hop as a practice. Each of these can be used in the musicking classroom (Chris Small). I recently shared a google survey with music educators of all levels, via social media. Link provided here —–> https://docs.google.com/forms/d/1Ku6DGBwBl3VLKg6LSENP3iiuE_OVbjCVbkJcTmv17yk/viewform?usp=send_form  Please feel free to fill this out, if you are a teacher, past or present, and have or are interested in using hip-hop music/culture and its pedagogies in your classrooms. When I am finished collecting data in the upcoming days, I will share the results of what teachers are or are not doing with hip-hop.

 

P.S. I have been using the term “cultural appropriation” as of late and will start using another term to express my wishes for the use of hip-hop music in education. I have recently seen the term “musical exchange” and think this is

Teacher Orientation to Popular Music #HipHopMusicEd

#HipHopMusicEd

Music educators your lack of experience w/ and/or interest in popular American music limits not only your experience, but that of your students in the musicking classroom.

As I get older I am starting to understand that the only limits that exist in my classroom are those that I and my students create. I am currently researching the preferences and dispositions of preservice teachers and the education programs they are involved in. It’s important that we all understand that teacher orientation is typically dictated by teacher pedagogy and methods courses they are engaged during study. This is sets the foundation for what many teachers (professionals) will use as their teaching premise for the rest of their careers. The more limited, or shallow, these types of musical experiences that student-teachers have, the more likely they are to replicate them in their future teaching. This is evident in the limited selection of performance formats found throughout American music classrooms.

Teaching programs should in theory, be a place where student-teachers muddle through diverse experiences that are suppose (purposed) to help bring the unknown into the space of the known (Dewey). We have to stop replicating what we think is unequivocal permanent fact, and start trying to meet our students where they are and engage in relevant learning activities. Critical Hip-Hop Pedagogies are a wonderful set of approaches to bringing in relevance into the music classroom. Let’s help children find relevance in our classrooms by we ourselves, as teachers, tackling difficult topics with hip-hop pedagogies (practice, lens, bridge). Most teachers only replicate the experiences they have had in their learning experiences and rarely move outside of this paradigm. So, how do we repair this rigid range (limited) of experiences?

Let’s take the clarion call of such educators, ethnomusicologists and scholars like Adam Kruse, Barbara Lindquist, Randall Allsup, Lucy Green, and many others that ask us to question the familiar, and engage in a search of the practices of popular music and musicians. There is so much rich, diverse and important topics that can be uncovered in working with popular music. The first step is that teachers con not simply stay in the lane of practitioners, but have to also move into the lane of researcher. Practicing these popular forms of music can have deep benefits, and can help us gain so much through critical reflection. Students are worried about you being cool because you are authentic, they are in your class to learn and grow. They relate to you because of the level of honesty and how you share the ways in which you came to understand the topic. Reading a chapter and simply sharing this isn’t enough. Popular music forms have to be taught in various formats in undergraduate programs in order for change to happen. Let’s start now, to honor the great music of America. Let’s celebrate the J-Dilla’s, Stevie Wonder’s, Stephen Foster’s, Irving Berlin’s, Kanye West’s, Eminem’s, Katie Perry’s, James Brown’s, Johnny Cash’s, Wille Nelson’s, Louis Jordan’s, Miles Davis’, Wynton Marsalis’, Pete Seegers, and Kendrick Lamar’s of the music world. If we start with our teachers we can open up spaces of inquiry in our music classrooms that have never really existed before. Let’s tackle these forms, genres and topics.

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#HipHopMusicEd

As a teacher you’re always learning twice. As a music teacher pick music that allows for you to learn as well as your students. Take the Barbara Lindquist approach to ethnomusicological teaching of music. We teach the post hip-hop generation, why not think forward to tomorrow by using the music of today instead of the music of yesterday i.e. European Classical. Granted, study of that music has its merit and positive outcomes, BUT why that music, in this country, at this time? It’s 2015 and we still haven’t got the collective nerve to sit and analyze our, American, own music.. (Insert sad face). That’s why teachers learn twice, when they have to tackle the universal design of their lessons to help their entire class population, and the second time when they are overcoming their own bias in respect to the music. music teachers, take a stand and devote a couple of lessons to analyzing hip-hop music in your classroom, regardless of what type of class. Be brave and open up the canon. Do not worry about how authentic it is, do the research in respect to the beat producers and deejays. Don’t try to synthesize black culture (stereotypes) in your approach, even though it’s an important part. Just observe, pay respect to the ethos and the people that created it (urban minorities in the 1970’s). Replicate and analyze the music while making comments on topics/themes, musical elements, and truly studying what you and your students are working together on. Ask questions like; what do you see, what you hear, what does it mean to you. There is so much potential in the use and study of this music. The goal shouldn’t be to just make it an end, but rather to allow it to be a means as well.

#HipHopMusicEd #musiced #hiphopmusic #teacherasadvocate #socialjustice #hiphop

The Utility of Hip-Hop Music in Music Education #HipHopMusicEd


 

HipHopMusicEd

HipHopMusicEd

The Utility of Hip-Hop Music in Music Education #HipHopMusicEd


 

I really love hip-hop music, …no I REALLY love hip-hop music! I have loved it, the good and the bad, ever since I was about 11 years old and my mother bought me some Addidas high-tops like Run DMC, and took me to see “Tougher Than Leather”, a movie produce by Russell Simmons and that featured Run DMC (coincidentally, it was a great album as well.) So, I’ve been in love with hip-hop music for almost three decades. As a member of the hip-hop generation I am both a critic and advocate for the power of the music, and by proxy the culture. I’ve seen hip-hop grow into a multi-billion dollar industry that started off as a mechanism for expression and agency, out of the urban experience. I fell in love with music even earlier than I feel in love with hip-hop. I can remember going to the record store, yes the Record store, to pick up new music. See, my mother was and still is a lover of good music. So, I grew up listening to Stevie Wonders “Innervision”, all of Natalie Cole, the Ohio Player’s “Honey”and “Fire”, as well as all of EWF (Earth, Wind & Fire). I watched Casey Kasem “America’s Top 10” every Saturday when I would visit my grandmother’s sister Luella. I was and still am the Hip-Hop generation. My favorite hip-hop song of all time is “Stakes is High” by De La Soul, track produced by the dynamic genius of J-Dilla. I used to play in a hip-hop band in Chicago called H2O Soul, and we often opened up for the legendary hip-hop band,  the Roots, Mos Def, and Common in Chicago, IL and Milwaukee, WI. I still make my own mixtapes (CD)of the hottest rappers out so that I can hear them in my car on either my iphone or my cd player. I am Hip-hop.

I have also been part of the conservatory method that was a huge part of the model used to design the American system of music education. I am a professional trumpet player (jazz) and I have two degrees in music performance, one a M.M. in jazz studies from Northern Illinois University (Go Huskies). But, the majority of my musical development and understanding, over the last twenty years, of what I feel real music, honest music, should be like comes from my time investigating hip-hop music on my own. Its these critical experiences in hip-hop, I believe, along with critical reflection that can and will help save American Music Education. I know that’s a bold statement, but there has to be something said about a musical genre that is global in nature. There are hip-hop cultures all over the world. Hip-hop exploded on the scene like a nuclear bomb, leaving radiation everywhere…affecting everything around the blast zone, whether it be lasting or temporary. The debates that have sprung from the addition of the music into the popular domain of culture is immense. The critical writing on the subject, in the “con” side, is a large number. However, there are a few examples of researchers calling for more investigation into hip-hop pedagogy. This groups use the music and culture as a device rather than a music making opportunity. These experiences in music that we are talking about would be called “Musicking” by the late ethnomusicologist, Chris Small. Daily we all are bathed is sound, and music in its essence, is sound. Why must we be masters in order to craft something? That’s a horrible thought, to believe that in order to take part in something you can only do so if you are the master of it. You can never contribute, or feel value until you have truly mastered it, correct? I disagree with this sentiment and believe hip-hop music’s development has helped music endure in the America of the 21st century. It helped the music industry sustain over the last two decades. It has revitalized the way we share music and how often we can do it. Hip-hop was child along with the internet, synthesizers and cable, and the little brother to Funk, Punk and Disco. Hip-hop was raised on a diet of Reganomics, budgetary cuts in Arts Education, the Crack Explosion, and the AIDS epidemic of the  early 1980’s. What a dynamic time in the world, and more specifically the United States of America.

So, I believe this dynamism that Hip-hop, the music of  the Urban America experience, encountered during that time makes it a suitable and relevant bridge, lens and practice – framework, in which to work in. Music education is behind the eight ball and needs to look deeply in itself to find the big why(s)? Why do we teach? Why do we need to teach that? Why isn’t Hip-Hop music part of the canon? Why are we afraid to use hip-hop as more than a tool? Why aren’t we treating it as a subject – space of inquiry? These questions can be very difficult to answer, for some. Hip-Hop is relevant for the millions of people that are part of the post-hip hop generation. Hip-hop, for them, has always been a part of their lives and they can’t remember a time when there wasn’t hip-hop music or culture seen all around them. They can’t think of a time before rap, or when there wasn’t graffiti somewhere, or when deejays didn’t mix records without the use of a crossfader? Hip-hop is S.T.E.A.M.. If you really want to be real about it. Its the place where technology, society (culture), and music collide (imbricate) creating a beautiful consequence. If you want to relate to this generation of people, as a music educator, you will have to overcome your fear of messing it up (experience) or not doing it authentically (realness), and truly investigate the music (black urban culture). Music education programs will have to accept change and include new things into their pedagogies on pedagogy(instruction). I advocate for change, not massive and devastating change, but dynamic change nonetheless.

The use of hip-hop music in American music education is useful, practical and relevant. The utility of hip-hop music in music education is tremendous. Its both an “end” and a “mean” and that spells out a win win for all educators. Hip-hop has an aesthetic deeply grounded in ethnographic dislocating, de-centering and disrupting what we value and what our values are. The music can be analyze by theoretician, historian and educational teachers in three different perspectives; “Hip-hop as Bridge”, “Hip-hop as Lens” and “Hip-hop as Practice” (Kruse, 2014). These delicate yet flexible frameworks, through which we can use and engage with the space of inquiry that hip-hop creates, are important to recognize prior to delineating our curriculum. In order to create lasting change we must first get teachers, students, administrators and the public at large to understand that music is sound, and hip-hop in its purest form is sound appropriation. Its similar to the renown work of appropriation artist Elaine Sturtevant (Check out the MoMA – Double Trouble) did in the late nineteen-seventies from works centered on Jasper Johns, Andy Warhol, and Jackson Pollack. Hip-hop helps people combat and face their biggest prejudices by allowing an open debate between lyricist, deejays, graffiti artist, breakdancers and the audience to be had, about topics including but not limited to; freedom, identity, democracy, police brutality, violence in urban areas, racism, sexism, peace, victory and a wide array of other themes. Its a great introduction for music students interested in composition to learn about building motifs and motives. Its a perfect way to teach patience and what a groove is (Ostinato). It allows the teacher to deal with timbre and sonority, two of the most difficult topics in music education. Teachers can use the music to explore ethnomusicological approach to getting their students to learn more about the culture of America, history of our country and the various factors that contribute to our place in the world. Hip-hop helps people (that participate with it) to write their own worlds (story) in a more accessible ways than most other musical genres. Its accessible, and teachers need to know that the only thing between hip-hop music and them, is really only them and their preconceived notions about the culture and music(BAM). I prefer that the academy take a look at the programs all around the country that would benefit from culturally relevant music education, and simply attempt to expand the canon. Include a couple of famous hip-hop tunes as evidence of a willingness to engage with others about our path. Sometimes we as teachers (educators) forget that we are not in a fight with society or culture(people), but rather we are in a war with the thoughts and ideas that pollute our minds and those of the masses.

As I spoke earlier about “de-centering” “dislocating” and “disrupting” our thinking or ideological sediment, hip-hop music is great at doing that. Democracy demands controversy (Hess 2009). So, what other music has caused as much controversy as hip-hop? Lets use this space of inquiry as an opportunity to get teacher and student using discussion as a way of learning. To share is at the heart of the arts, and the vehicle of the aesthetic. Democracy is but a frame about which we demand to contribute our voices, but their must still be a system put in place to make sure everyone is heard. I am not suggesting that we simply change all of the literature and repertoire lists that exist in American Music Education, but that we simply expand it in order to make needed room for all American music genres. They all deserve to be valued as product, artifact, space of inquiry, movement, culture, etc. As American changes, demographically, so should the things that we value. We should start seeing more elements of the minority view present in the privileged position, because the Eurocentric values of our forefathers are antiquated and have never really represented the entirety of the American populous.

 

So, what I will be doing over the next couple of years, is build a case for a space for hip-hop music in music education. I hope you will join me, because will be writing about curriculum, instruction and uses of hip-hop pedagogy in the domain of the music classroom. I hope you will engage with me in this journey and feel free to comment and ask questions. I will post the link to my blog on #twitter #instagram and #facebook using the hashtag #hiphopmusiced

 

Sincerely,

Jarritt A Sheel

#hiphopmusiced #hiphopmusiceducation #hiphoped #hiphoppedagogy #hiphop #Music #MusicEducation

 

 


 

REPOST OKAY PLAYER: Ma Dukes Speaks On J Dilla’s ‘The King Of Beats’ Posthumous Boxset Release

Ma Dukes Speaks On J Dilla's 'The King Of Beats' Posthumous Boxset Release

Ma Dukes is a woman with a whole lotta weight to bear. As both survivor and manager of her son J Dilla‘s estate, one can imagine that it might be a bit daunting to get a grasp of such an immense body of work, especially after that storage unit debacle, doubling or even tripling that catalogue with tapes no one had ever heard. But whatever the downsides the upside is…it seems we’ll get yet another posthumous release. In a year that’s already seen 3 in The Diary, Lost Scrolls Vol. 1 and the Diamond & Ice EP, we’ll see another page added to what is already a deep posthumous release schedule in the form of Ma Dukes’ handpicked and supervised The King Of Beats box set.

As a longtime naysayer in regards to repackaged donuts with varying degrees of MC aptitude, to hear that there were plans to bring yet another tape to surface was actually pretty unsettling. But in this particular instance, it seems Mama may truly know best, as there don’t seem to be any swagger-jacking local MCs to spit garbage over Dilla’s fortified audible gold. She explains in an interview with Rolling Stone :

“This project came about by a lot of soulsearching and meditation as to what can I do now that my son has so many bootleg projects out by unknown artists. Now that I’m out of mourning and full of insight and feeling my son’s energy radiate around me, I wanted to do something different but iconic; Something that people would preserve and relish for a lifetime that spoke quality.”

The latest batch of funk to drop from beyond the grave will be spread across more mediums than you can simultaneously play, rolling-out on four 10-inch vinyl pressings, a cassette with 5 extra beats on it and a floppy (yes, a floppy) of an extra beat, essentially covering the gamut of how his goliath catalogue came to be. We got a taste of the aptly named “Filth” last week, and I tell ya, I get the feeling we’ll be getting a few more before that late August day. We’ll have plenty more on The King Of Beats as we creep up on its release, so be sure to hold tight. You can cop the preorder for this mammoth release tomorrow via jdillathekingofbeats.com. Head over to Rolling Stone for the full script.