The Project Formula
Project: Girlie Pop
By Petar Jovanov & Michelle Stead
(Following the project design framework in Kuhn & Hein, Electronic Music School, Chapter 6)
Framing the Project
This classroom project is built using the framework developed by Kuhn and Hein in Electronic Music School (2021), particularly the design model outlined in Chapter 6. Their “Project Formula” — combining a music concept, a technology concept, and a “fun hook” — serves as the structure through which we created a scaffolded, genre-based composition task for high school students (p. 49).
The chosen genre, girlie pop, brings together accessible musical materials and culturally relevant listening practices. Often overlooked in music tech curricula in favour of male-coded genres like trap or vaporwave (Kuhn & Hein, 2021, p. 56), girlie pop presents a musically rich, technically achievable, and socially meaningful alternative.
This project aims to address genre bias in music education by treating girlie pop not as a novelty, but as a serious site for creative exploration. It draws on inclusive, constructivist teaching principles and foregrounds students’ own musical identities. As Stead (2016) notes, musical discourses often marginalise embodied and referential forms of listening, many of which are central to this genre. Bringing girlie pop into the classroom creates space for those listening modes — and the students who engage with them — to be heard.
1. Identifying the Genre’s Core Tropes
Kuhn and Hein recommend beginning by identifying stylistic markers: tempo, rhythmic feel, harmony, form, and production elements (p. 52). We developed a reference track playlist, anchored by Sabrina Carpenter’s “Espresso,” and extracted recurring musical traits from within the subgenre.
Genre Characteristics
Structure
- Verse–Chorus–Bridge, often with a repeated final chorus
Tempo
- 100-110 BPM
Rhythm
- Four-on-the-floor kick
- Claps on 2 and 4
- High-register percussion (e.g., woodblock)
Harmony
- Am–F and G–E progressions
- I–V–vi–IV variants as alternatives
Melody and Arrangement
- Syncopated funk guitar
- Short synth riffs or string stabs
- Pop-style vocal lines with doubling
Basslines
- D–D–D–A–C
- D–E–E–G–A–C
Production Features
- Kick-triggered sidechain compression
- Harmonic vocal layering
- Polished, bright mix with stereo spread
These characteristics serve as both aesthetic guidelines and creative prompts. They define the genre’s sound while allowing for individual customisation and interpretation.
2. Scaffolding Complexity
According to Kuhn and Hein, a successful project must strike a balance between technical ambition and student access (p. 54). We identified components that students can achieve independently and those that require additional scaffolding or serve as optional extensions.
Accessible Components
- Drum patterns (4/4 kick, clap on 2 and 4)
- Sequencing basic chords using MIDI
- Drawing or playing simple basslines
- Arranging song form in clip/arrangement view
- Applying basic transitions (delay, reverb, filter sweeps)
Scaffolded or Advanced Components
- Sidechain compression
- Synth solos or fills
- Automating volume or pan
- Vocal FX (doubling, delay tails)
This tiered structure ensures entry points for all learners, while still encouraging growth and experimentation.
3. Structuring for Flow
To support sustained engagement, we designed the workflow as a streamlined series of steps, consistent with Kuhn and Hein’s emphasis on “flow” (p. 49).
Basic Workflow
- Set tempo to 80 BPM
- Build a drum groove (kick + clap)
- Input a simple bassline using MIDI
- Sequence chords across an 8-bar loop
- Structure the track (Verse, Chorus, Bridge)
- Add a short fill or melodic embellishment
- Apply one automation or production technique
Optional Extensions
- Add vocal-style FX or a synth solo
- Introduce orchestral textures for a disco feel
- Customise the intro or ending (e.g., abrupt stop, fade-out)
This clear sequence supports both creative output and technical development.
4. Supporting Personalisation
One of the central design goals in Electronic Music School is the balance between consistent outcomes and student agency (p. 53–55). We’ve applied this by embedding customisation options at multiple points in the project.
Low-Barrier Customisations
- Select different kits or synths from curated options
- Choose between different ending formats
- Create one unique fill or riff
Higher-Level Challenges
- Compose a contrasting bridge section
- Automate effects across form sections
- Apply vocal-style processing to instruments
Petar Jovanov 