Abstract
Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (perfor-mance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teaching resources for students with less finances and internet access can give access to STEAM (science, tech-nology, arts and mathematics) and music creation. We recenter Black, Latinx and Indigenous musics and participatory music practices to expand music creation. Therefore, this research design offers a series of decolonizing music technology and creation prompts to adapt with local music practitioners as teaching-artists for community-specific teaching and learning.
Original language | English (US) |
---|---|
Pages (from-to) | 317-334 |
Number of pages | 18 |
Journal | Journal of Popular Music Education |
Volume | 7 |
Issue number | 3 |
DOIs | |
State | Published - Sep 2023 |
Keywords
- critical sonic practice
- culturally relevant pedagogy
- decolonizing
- inclusive learning
- music education
- participatory research
ASJC Scopus subject areas
- Arts and Humanities (miscellaneous)
- Music
- Visual Arts and Performing Arts