Kiri Miller
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199753451
- eISBN:
- 9780199932979
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199753451.003.0005
- Subject:
- Music, History, American, Ethnomusicology, World Music
This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate ...
More
This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate Brown’s OnlineDrummer.com have each attracted thousands of students from around the world. The chapter shows how Taub, Brown, and their students have strategically adapted traditional pedagogical strategies and reshaped teacher-student (and student-student) relationships in a virtual transmission context. This chapter also addresses online teachers’ encounters with copyright law. Aspiring guitarists and drummers often seek out lessons because they want to learn to play songs by their favorite artists. Musicians routinely teach copyrighted material in private lessons, but publishing song lessons online can leave them vulnerable to account deletion or legal action. While bringing lessons into the digital public sphere makes them accessible to many more students, this new context also imposes new constraints on repertoire and teaching style.Less
This chapter focuses on two musicians who have used YouTube and their own websites to develop multimedia online curricula for teaching rock guitar and drums. David Taub’s NextLevelGuitar.com and Nate Brown’s OnlineDrummer.com have each attracted thousands of students from around the world. The chapter shows how Taub, Brown, and their students have strategically adapted traditional pedagogical strategies and reshaped teacher-student (and student-student) relationships in a virtual transmission context. This chapter also addresses online teachers’ encounters with copyright law. Aspiring guitarists and drummers often seek out lessons because they want to learn to play songs by their favorite artists. Musicians routinely teach copyrighted material in private lessons, but publishing song lessons online can leave them vulnerable to account deletion or legal action. While bringing lessons into the digital public sphere makes them accessible to many more students, this new context also imposes new constraints on repertoire and teaching style.
Mark Katz
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780190056117
- eISBN:
- 9780190056148
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190056117.001.0001
- Subject:
- Music, Popular, History, American
Hip hop and diplomacy are unlikely partners. And yet, since 2001 the US Department of State has been sending hip hop artists to perform and teach around the world. The government has good reason to ...
More
Hip hop and diplomacy are unlikely partners. And yet, since 2001 the US Department of State has been sending hip hop artists to perform and teach around the world. The government has good reason to be interested in hip hop: it is known and loved across the globe, readily acknowledged as a product of American culture. Moreover, hip hop has long been a means of fostering community through creative collaboration—what hip hop artists call building—and can thus facilitate mutual respect and cooperation among people of different nations, a key objective of diplomacy. At heart, Build is about the intersection of art and power. It reveals the power of art to bridge cultural divides, facilitate understanding, and express and heal trauma. Yet power is always double-edged, and the story of hip hop diplomacy is deeply fraught. Build explores the inescapable tensions and ambiguities in the relationship between art and the state, revealing the ethical complexities that lurk behind what might seem mere goodwill tours. In the end, however, Build makes the case that hip hop can be a valuable, positive, and effective means to promote meaningful and productive relations between people and nations. Hip hop, a US-born art form that has become a voice of struggle and celebration worldwide, has the power to build global community at time when it is so desperately needed.Less
Hip hop and diplomacy are unlikely partners. And yet, since 2001 the US Department of State has been sending hip hop artists to perform and teach around the world. The government has good reason to be interested in hip hop: it is known and loved across the globe, readily acknowledged as a product of American culture. Moreover, hip hop has long been a means of fostering community through creative collaboration—what hip hop artists call building—and can thus facilitate mutual respect and cooperation among people of different nations, a key objective of diplomacy. At heart, Build is about the intersection of art and power. It reveals the power of art to bridge cultural divides, facilitate understanding, and express and heal trauma. Yet power is always double-edged, and the story of hip hop diplomacy is deeply fraught. Build explores the inescapable tensions and ambiguities in the relationship between art and the state, revealing the ethical complexities that lurk behind what might seem mere goodwill tours. In the end, however, Build makes the case that hip hop can be a valuable, positive, and effective means to promote meaningful and productive relations between people and nations. Hip hop, a US-born art form that has become a voice of struggle and celebration worldwide, has the power to build global community at time when it is so desperately needed.
