Professional Music; Songwriting
This chapter discusses popular music curricula by talking about classical conservatoires in order to demonstrate that the latter were called into existence with an employability agenda – to provide people who could fulfil society's musical needs. Popular music's aural product manifests itself in one of two ways – as a sound recording, or as a performance. Music industry administrative systems reward the songwriter separately from the performer, and copyright protects the song as a composition differently from the sound recording of the song, privileging melody above all other creative content. This pre-digital-age definition of the songwriting act is problematic for some contemporary popular music, given the other Track Imperatives, and considering that most popular music is at least partly created using a computer. The idea that the student learning experience should engender transferable skills and self-development is established in institutional cultures, specified in national curricular frameworks and much discussed in pedagogical research.
Bennett, Joe. “Towards a Framework for Creativity in Popular Music Degrees.” In The Routledge Research Companion to Popular Music Education (1st ed.), edited by Gareth Smith, Zack Moir, Matt Moir, Matt Brennan, Shara Rambarran, and Phil Kirkman, 285-297. London: Routledge, 2016.