With the intent of informing the practice of music educators who teach songwriting in K–12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. I transcribed co-writing sessions and interviews and coded all data for emergent themes. Trustworthiness procedures included triangulation through multiple data sources, “member checking” of transcripts by participants, and review of coded documents by two colleagues in the music education research community. Songwriters located their learning in classrooms and workshops, in the co-writing room, in individual learning pursuits, and in the broader context of the Nashville songwriting community. Songwriters’ learning combined both formal and informal modes. Some of their informal practices aligned with those described in previous research on popular musicians’ learning, though the “listening and copying” identified by Green (2002) did not “translate” directly, given that “copying” is not as valued when generating original material is the goal. Co-writer selection was an important factor in songwriters’ learning. The learning that occurred in co-writing spaces seemed to reflect Green’s (2002) concepts of both “peer-directed learning” and “group learning,” but also a form of “peer coaching” through “checks and balances” that seemed distinct from the learning modes that Green described. Pressure was an important factor for some participants: on one hand, the company of co-writers reduces pressure surrounding creative activity; on the other, accountability to one’s collaborators increases the pressure to be engaged and thoughtful in the co-writing process. Songwriters also valued a safe and open co-writing environment that supported both creativity and learning. Participants identified several “important actors” in their Nashville songwriting lives. Professional organizations played an important role, as did certain individuals—managers, veteran writers, open mic and writers’ night hosts, and publishers. Some of these actors played important mentor/sponsor roles, whereas others acted as gatekeepers in the environment. Findings from this study prompt teachers of songwriting and music educators in general to consider how formal and informal practices can be combined in formal situations. These findings also reveal the potential power of co-writing as a learning tool in songwriting classes, though it should be balanced with other activities. Recommendations for future research in the teaching and learning of songwriting are offered as well.
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