I’m in the process of applying for a PhD in music education, and I have to come up with a statement of purpose. Here’s my most current draft.
I dream of a world where music education serves everyone, not just potential classical virtuosos, with a radically revised curriculum that erases the distinction between “school music” and “real music.” This curriculum would be accompanied by accessible, thoughtfully designed technology for meaningful individual and group music making. Educators would incubate communities of enthusiastic music makers across skill levels and styles. My goal as a PhD candidate is to work toward making this vision a reality, using three mutually informative approaches: 1) scholarship and advocacy for curriculum change; 2) the design of new technologies and user experiences; and 3) the direct teaching of future music teachers. As a prolific and influential music blogger whose writing has been included in college syllabi internationally, I have been working toward these goals for some years already; my hope is that continued work with Alex Ruthmann, John Gilbert and the rest of NYU Steinhardt’s Music Education and Music Technology faculty will greatly increase my knowledge, credibility and reach.
My primary avenue of intended research is to design learning experiences that lead to active creative music making, even at the beginner level. Specifically, I want to devise new curriculum materials centered on the digital studio. In so doing, I hope to stem the epidemic of abandonment of formal music study. Tools like Ableton Live and Apple’s Logic are invaluable for encouraging students to produce original, culturally authentic music of their own. Creating pop tracks is an exercise with a low floor and high ceilings; novices can participate meaningfully, and experts can explore large-scale structure and novel timbral combinations. This work can and should come before theory and notation; otherwise we risk alienating the majority of would-be student musicians.
A great many teachers would naturally prefer their classes to be engaging and socially relevant rather than dry and antiquated. However, most music teachers have no idea how pop music is made. This is not due to lack of technical skill, but rather to a disconnect in musical sensibilities. The study of harmonic movement at the quarter-note level is poor preparation for music that eschews harmony completely, and the study of classical form does not give much insight into the loop structures of dance and hip-hop. Formal music education generally omits songwriting, improvisation, beatmaking, synthesis, MIDI, audio engineering, critical listening to recordings, and much else of value both to casual students and would-be pop practitioners. It is especially crucial that music teachers recognize the digital studio as a new musical medium, one that erases the distinction between composition, improvisation, performance, recording and mixing. Digital audio editing makes it possible for young musicians to approach the artifacts of their culture as producers rather than consumers, and enables even complete beginners to engage with music at the intuitively approachable level of riffs, phrases, chord cycles, and drum patterns. Approaching music this way does not just give entry into pop; it also opens new inroads into the study of jazz and classical. One of my main goals as a scholar is to devise music education curriculum materials that will help teachers adapt to this new paradigm.
The design of music learning technology is as important as the design of curricula. Indeed, the education of most pop musicians takes place outside of a classroom, in large part through direct trial and error. In this context, the presets, default sounds and user interface affordances in music production software and hardware are de facto music teachers with enormous cultural reach and impact. As Dr. Adam Bell (NYU Steinhardt PhD 2013) memorably put it, “purchasers of computers are purchasers of an education.” I would like to find ways to make that educational experience a better one. My intimate expertise both with formal theory and informal pop practice makes me ideally suited to design music education technology. My Masters thesis was a prototype introductory-level rhythm learning app that uses an innovative radial visualization scheme combined with creative exercises drawn from genuine dance, pop and hip-hop repertoire. I have since been asked by engineers at iZotope and Ableton for design insights, and my blog posts on interface and experience design have a substantial and growing global following.
My thinking on the role of technology in music education has been shaped profoundly by the MusEDLab, with whom it has been my privilege to work as a researcher for the past year. The Groove Pizza, an outgrowth of my Master’s thesis, is an emblematic MusEDLab project: a circular drum machine that visualizes rhythm patterns in the arrangement of plastic mushrooms, pepperoni and sausages. Beyond the novelty of the form factor, we believe that there is deep value in circular rhythm visualization as an intuitive representation of the loops comprising all pop and dance music. Radial rhythm visualizations also have rich value outside the music classroom; for example, they can be used to teach mathematical subjects including ratios and proportional relationships, angles, polar coordinates, rotational and reflectional symmetry, and modular arithmetic. I expect that my doctoral studies will dovetail neatly with the MusEDLab’s work, and that the two will mutually inform each other. I look forward to sharing the findings of our research with advocates for change in music curricula at the university as well as the primary and secondary school levels.
My own teaching practice has been and will continue to be a proving ground for new approaches. As an adjunct at NYU and Montclair State University, I am introducing future music educators to the possibilities of technology in the classroom, as both a toolkit for teaching music fundamentals and for fostering creative expression even at beginner levels. This work has already informed my thinking about the potential for experience design to make musical practice more accessible. I eagerly look forward to using my doctoral studies to engage in evidence-based design of new music learning experiences, to advocate for the adoption of those experiences, and to help teachers bring culturally authentic music into the classroom. In so doing, I hope to widen access to the essential social vitamin of active musical practice, and to guide students toward the discovery of their own musical truths. Thank you for your consideration.
