MEMECO x APME International Conference 2026

What happens when songwriters are asked to work within limits? Rather than restricting expression, creative constraints can act as catalysts for discovery. In professional songwriting settings from co-writing sessions to industry briefs, songwriters frequently work under specific parameters of style, theme, and form. Bringing those constraints into the classroom not only mirrors real-world practices but also offers powerful tools for cultivating creativity and confidence.

This session introduces the pedagogical framework of constraint-based songwriting as a means to jump-start creativity, eliminate writer’s block, and encourage craft development. Drawing from both artistic practice and classroom application, this session will feature adaptable exercises that employ lyrical, formal, harmonic, and production-based limitations.

Participants will experience how limitations can lead to freedom by redirecting focus toward process, exploration, and intention. The session positions constraint not as a barrier but as an essential structure that deepens expressive range. Attendees will leave with hands-on strategies, adaptable prompts, and a renewed understanding of how teaching “within the box” can open creative doors for both students and professionals alike.

In this session, preliminary findings will be presented on what music means to children from disadvantaged families. Thus, a critical discussion of the influences on children's music culture will be presented, and the importance of hearing their voices in shaping future music education will be emphasized.

This paper reconceptualizes music education through the concept of musickability, understood as the human capacity to build meaningful relationships with music across the lifespan. It argues for re-centering guided listening as an active, transformative, and relational practice that supports emotional, social, and educational development, especially in preadolescence.

Music is a powerful medium through which bilingual families negotiate culture, language, and emotion. This study examines how parent-musicians in American–Chinese and Italian–Chinese households use everyday musical practices to shape their young children’s bilingual identities, agency, and developmental trajectories.

Christiane Karam presents The Voices Method, an innovative approach using the human voice as a somatic healing tool. Through improvisation, breathwork, toning, and Eastern singing traditions, participants explore trauma release, self-discovery, and empowerment. This transformative work addresses vocal, mental, physical, and spiritual health, guiding individuals from internalized voices toward authentic expression and freedom.

This demonstration introduces mindfulness-based, embodied listening practices for music educators and performers. Through a short experiential exercise and guided reflection, participants explore how presence, awareness, and energy can support performance readiness, expressive confidence, and authentic musical voice in teaching, rehearsal, and performance contexts.

This paper analyses and critiques the depiction of popular music educators within films released in English/with English subtitles from 1940–2025. It explores how tropes such as the rejection of school policy, a lack of teaching qualifications, and depictions of binge drinking may contribute to the delegitimation of popular music education.

Questa sessione presenta una ricerca sulla musica popolare italiana in Puglia e Lazio, analizzando il contesto sociale del dopoguerra, le tradizioni orali e la loro reinterpretazione contemporanea attraverso interviste, analisi delle trascrizioni e pratiche compositive sviluppate nell’ambito del Global Jazz Institute

This presentation highlights the impact of an engaged scholarship initiative that brings Palestinian violist and composer Ramzi Aburedwan and his Dal’Ouna Ensemble to Texas Tech University for a week-long residency connecting students, artists, and the local Arab community through music of the Levant region. Building on successful residencies in 2018 and 2024, the 2025 project expands the collaboration to include a research component designed to measure the impact of cross-cultural music-making on student learning, community engagement, and cultural perception.

Through lectures, masterclasses, collaborative composition, and a culminating public concert, undergraduate and high school students work alongside world-class musicians to explore Levantine/Mediterranean  popular music traditions that are underrepresented on American music programs. Participating students learned not only about musical systems and popular songs associated with the Medditerranean, but also about the role of art in society and in culture creation. Surveys and qualitative reflections gathered from students and audience members assess how musical collaboration fosters empathy, curiosity, and intercultural understanding.

Our findings suggest that experiential, cross-cultural, and collaborative encounters with global popular musics such as those presented by the Dal'Ouna ensemble can transform how students perceive both music and the world around them. The presentation situates this project within broader conversations about popular music education and global music traditions as well as how to incoporate these through education, community engagement, and musical performance. It offers a replicable model for how universities can partner with international artists, students, and local communities to bridge cultures, strengthen community ties, and foster cross-cultural understanding through music. 

This paper traces the Romanesca schema from eighteenth-century gallant traditions of contemporary pop music, examining its semantic, rhetorical, and emotional functions across repertories. Combining schema theory, semiotics, and historical musicology, it argues that the Romanesca survives as a flexible tonal archetype functioning as a rhetorical cliché, shaping listener expectation and expressive continuity across cultures.