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Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The pop music industry has a wide-ranging social influence and serves as an important medium for cultural exchange and international dissemination. This article aims to conduct a comparative study of the pop music industries in China and the United States, with the goal of comparing the differences and variations in pop music development between these two-major economic and cultural powers. Firstly, we compare and analyze the differences and similarities between the two countries in terms of music market size, music consumption patterns, and the value chain of the music industry. Secondly, we explore the challenges and opportunities faced by the pop music industries in China and the United States, aiming to inspire reflections on the development of the pop music industry in both countries. The study reveals that the future direction of China's pop music industry focuses on increasing the number of paying users and integrating pop music with social platforms. On the other hand, the U.S. pop music industry is dedicated to expanding into emerging overseas markets and enhancing its own influence. The future development trends of the pop music industry in China and the United States provide valuable insights for further exploration and promotion of the pop music industry's development. [ABSTRACT FROM AUTHOR]

Children's informal music-making has been studied in a variety of contexts outside of school, but few researchers have examined this type of learning in elementary music classes. The purpose of this phenomenological inquiry was to explore the lived experience of 13 children with informal music learning in an elementary school in the U.S. Individual interviews, focus group interviews, and field notes were collected and analyzed using van Manen's process for hermeneutic phenomenological inquiry. The data revealed the following themes: freedom to choose, making it their own, exploring their musical identities, and critical reflection. Key elements of the essence include interactions with friends, embodied music making, personal validation, and the encouragement of future musical opportunities. The discussion provides suggestions for music educators to facilitate informal music learning experiences and implications for future research with elementary students. [ABSTRACT FROM AUTHOR]

The presence of popular music education in schools has expanded significantly in the past two decades within the United States in part due to the expansion of modern band programming. Initially developed and propagated by the non-profit organization Little Kids Rock (LKR), modern band is a term used to describe school-based ensembles that use popular music instruments (e.g.- guitar, electric bass, drums, keyboards, ukulele) and incorporate technology to play popular music styles and promote student songwriting. While the presence of modern band programs in schools is a relatively new phenomenon, research on modern band programs, teachers, and students has recently begun to emerge. This paper explores the history of Little Kids Rock and the establishment of modern band in United States public schools. Following the description of the history of LKR, the curriculum and pedagogy of LKR are examined before looking at the impact LKR has had in terms of the number of teachers trained, student served, and instruments donated. Finally, the article concludes with a discussion of implications for music education. [ABSTRACT FROM AUTHOR]

Popular music has clearly permeated every aspect of modern society, whether it is through active participation in streaming media or opening music software, or passive acceptance while doing business in coffee shops and retail malls. The United States has long been at the top of the world music market, and its pop music has influenced the trend of contemporary pop music. In recent years, with the continuous development of the music industry, pop music has gradually become an important aspect that demonstrates the cultural soft power of the country and region. The struggle between China and the United States in terms of soft power has been fiercer in light of globalization and rivalry between the two nations. This article will refer to the "Billboard" list of the most influential singles in the United States in recent years and the "Grammy" award, the most authoritative music award, to introduce several influential Chinese singers overseas and representative American singers. Comparing and analyzing the current Chinese and American popular music and comparing their influence is of great significance for grasping the development trend of the times, understanding popular trends, enhancing the soft power of Chinese culture, and using music as a carrier to promote Chinese culture to the world stage. [ABSTRACT FROM AUTHOR]

Music educators and clinicians from Ohio and across the country gather annually for the Ohio Music Education Association (OMEA) professional development conference . Dr . Phillip Hash, professor and researcher from Illinois State University, was the featured keynote speaker of the Graduate Research Forum in February 2023 . Hash has presented on primary topics of music education history, instrumental music pedagogy, student teacher mentoring, and music teacher evaluation . Not only is he a notable scholar in the field, but also an accomplished arranger for band, strings, and small instrumental ensembles . The focus of this research forum centered on the historical development of popular music in the United States spanning from the 17th-century to present day, along with implications for practice in the music teaching and learning community . [ABSTRACT FROM AUTHOR]

Students in the United States discuss popular music all the time, but often outside the music classroom. How can music educators bring those conversations into the classroom in ways that students find engaging and meaningful? Podcasts offer a potential solution. By taking on the role of the popular music podcaster, students enrich their conversations by developing analytical skills that theorists, musicologists, and critics use in the process of making a tangible product. This article invites educators to consider the potential of popular music podcasts using pedagogical strategies that include listening, responding, and project-based learning. [ABSTRACT FROM AUTHOR]

Artists have long addressed social injustices within popular music. As teachers consider how to deconstruct and teach the events of 2020 (and beyond) with an eye toward the future, we offer a novel pedagogical approach to incorporating music into the social studies classroom: the set-list. The set-list can be understood as containing temporal conditions insofar that all traditional demarcations of time (e.g., past, present, and future) are implicated in its construction. Extending the concept of the set-list into education holds excellent potential for teachers and students seeking to develop a more complex perspective about criticality and social in/justice. Our set-list example originates from years-long conversations around our experiences as former secondary social studies teachers, current teacher educators, fathers, spouses, and individuals living in the United States. Music encourages students to recognize how the past, present, and future are intertwined in learning history. While the official social studies curriculum does not include music as an approach to learning history in the social studies classroom, using a student-generated set-list starts transforming the world within the context of social justice. [ABSTRACT FROM AUTHOR]

Music programs in higher education systems have historically operated from a Eurocentric point of view, and many programs still endorse an outdated hierarchy that places classical music above all other genres. Despite the inherent cultural and artistic value of American popular music, the United States lags behind other countries in granting popular music study a meaningful place in higher educational models. While significant structural changes to ensure that all genres of music receive equal attention and resources within university music programs develop, the authors have compiled a list of tools voice teachers can use to practice increased equity, diversity, inclusion, and belonging (EDIB) within our singing voice studios. These include (1) embracing intentional pedagogical practices; (2) avoiding cultural appropriation or cultural approximation; (3) continuing to seek education; (4) acknowledging our areas of excellence, knowing what is beyond the scope of our expertise, and having the courage to ask for help; (5) naming courses and programs accurately; and (6) developing an equity, diversity, inclusion, and belonging statement for the voice studio. As a form of combating systemic exclusion, voice teachers can take meaningful steps to foster a racially, ethnically, culturally, and musically inclusive singing voice studio. [ABSTRACT FROM AUTHOR]