- For the most up to date publications please visit https://eprints.qut.edu.au/view/person/Carfoot,_Gavin.html Dr Gav... moreFor the most up to date publications please visit https://eprints.qut.edu.au/view/person/Carfoot,_Gavin.html
Dr Gavin Carfoot is a Senior Lecturer in Music at the Queensland University of Technology. Prior to this he was a Lecturer in Popular Music at the Queensland Conservatorium Griffith University (2003-2013). He has worked extensively in popular music curriculum and assessment at the undergraduate and postgraduate levels. His collaborative work in popular music education and community service learning won a Griffith Award for Excellence in Teaching in 2012, and he has recent publications in the Oxford Handbook in Artistic Citizenship, Routledge Research Companion to Popular Music Education, Arts-Based Service Learning with First Peoples (Springer), Popular Music and Popular Communication. As a songwriter and producer, Gavin’s musical career has taken him from performing with touring swing bands to working with pop artists from television shows such as Australian Idol and X Factor.edit
A wide range of tertiary institutions offer popular music curricula, from those with well-established Western art music traditions, through to those specifically focused on popular music education. Various scholarly studies of learning... more
A wide range of tertiary institutions offer popular music curricula, from those with well-established Western art music traditions, through to those specifically focused on popular music education. Various scholarly studies of learning and teaching have documented and developed new approaches to pedagogy, curriculum and assessment, such as those by Green (2001), Lebler (2007, 2013) and Smith (2013). However, due to the fact that most of these studies are based in singular programmes or departments, few have been able to provide broad, multi-institutional analysis and critique of popular music education practices, perhaps with the exception of the UK-based report by Cloonan & Hulstedt (2012). Different institutional contexts may include a range of factors that impact upon learning experiences and outcomes for students, such as: the overall vision and objectives of the institution and programme; departmental history and context; whether the programme includes popular music education a...
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This article explores the potential for music making activities such as jamming, song writing, and performance to act as a medium for intercultural connection and relationship building during service learning programs with Indigenous... more
This article explores the potential for music making activities such as jamming, song writing, and performance to act as a medium for intercultural connection and relationship building during service learning programs with Indigenous communities in Australia. To set the context, the paper begins with an overview of current international perspectives on service learning and then moves towards a theoretical and practical discussion of how these processes, politics, and learning outcomes arise when intercultural engagement is used in service learning programs. The paper then extends this discussion to consider the ways in which shared music making can bring a sense of intercultural " proximity " that has the potential to evoke deep learning experiences for all involved in the service learning activity. These learning experiences arise from three different " facings " in the process of making music together: facing others together; facing each other; facing ourselves. In order to flesh out how these theoretical ideas work in practice, the article draws on insights and data from Queensland Conservatorium Griffith University's award winning Winanjjikari Service Learning Program, which has been running in partnership with Barkly Regional Arts and Winanjjikari Music Centre in Tennant Creek since 2009. This program involves annual service learning trips where university music students travel to Central Australia to work alongside Aboriginal and non-Indigenous musicians and artists on a range of community-led projects. By looking at the ways in which shared music making brings participants in this program " face to face " , we explore how this proximity leads to powerful learning experiences that foster mutual appreciation, relationship building, and intercultural reconciliation.
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Research Interests:
... Car audio culture as scene Car audio culture encompasses a highly diverse set of cultural practices, ranging from the everyday practices of listening to music ...
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Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital... more
Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise” and “musical sound.”