Abstract and Keywords
This chapter describes how educators may use Stuart Hall’s encoding/decoding model to create instruction and curricula that challenge students to critically examine popular music. Through this process, students generate dominant, oppositional, and negotiated readings of songs, music videos, and other popular culture texts, and situate these readings within relations of power and privilege. This pedagogical process is illustrated in an analysis of contested notions of “female empowerment” in Beyoncé Knowles’s music video Run the World (Girls). Finally, limitations of the encoding/decoding model are accounted in order to create new aims for social justice in music education, including the exploration of diversity and the exploration of societal power and privilege in the production and reception of popular music.
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