The Bloomsbury Handbook of Popular Music Educationdraws together current thinking and practice on popular music education from empirical, ethnographic, sociological and philosophical perspectives. Through a series of unique chapters from authors working at the forefront of music education, this book explores the ways in which an international group of music educators each approach popular music education. Chapters discuss pedagogies from across the spectrum of formal to informal learning, including “outside” and “other” perspectives that provide insight into the myriad ways in which popular music education is developed and implemented. The book is organized into the following sections: - Conceptualizing Popular Music Education
- Musical, Creative and Professional Development
- Originating Popular Music
- Popular Music Education in Schools
- Identity, Meaning and Value in Popular Music Education
- Formal Education, Creativities and Assessment Contributions from academics, teachers, and practitioners make this an innovative and exciting volume for students, teachers, researchers and professors in popular music studies and music education.
Foreword, Joe Bennett (Berklee College of Music, USA) Introduction: Popular Music Education: Perspectives and Practices, Zack Moir (Edinburgh Napier University, UK), Bryan Powell (Montclair State University, USA) and Gareth Dylan Smith (Little Kids Rock, USA) Part I: Conceptualising Popular Music Education 1. Setting the Agenda: Theorizing Popular Music Education Practice, Simon Zagorski-Thomas (University of West London, UK) and David Henson (University of West London, UK) 2. Popular Music Education: A Way Forward or a New Hegemony, Juliet Hess (Michigan State University, USA) 3. Considering Techne in Popular Music Education: Value Systems in Popular Music Curricula, Mark Hunter (Middlesex University. UK) 4. Tertiary Popular Music Education: Institutions, Innovation, and Tradition, Gavin Carfoot (Queensland University of Technology, Australia) and Brad Millard (Queensland University of Technology, Australia) 5. The Vanishing Stave: Reading Traditional Notation in Popular Music Performance Degrees, James Dean (Canterbury Christ Church University, UK) Part II: Musical, Creative and Professional Development 6. Learning Experiences of Expert Western Drummers: A Cultural Psychology Perspective, Bill Bruford (independent scholar, UK) 7. Breaking into a “Scene”: Creating Spaces for Adolescents to Make Popular Music, Sarah Gulish (Lower Moreland High School, USA) 8. What The Masters Teach Us: Multitrack Audio Archives and Popular Music Education,Kirk McNally (University of Victoria, Canada) and Toby Seay (Drexel University, USA) 9. Singers in the Academy: Training the Popular Music Vocalist, Kat Reinhert (University of Miami, USA) 10. The Adapted Expressive Performance Approach: Performance Techniques for Musicians with Learning Disabilities, Blair Kelly (Kingston College, UK) Part III: Originating Popular Music 11. Songwriting Pedagogy in Higher Education: Distance Collaboration and Reflective Teaching Practices, Andrew Krikun (Bergen Community College, USA) and Stephen Matthews (University of Auckland, New Zealand) 12. Of Trackers and Top-Liners: Learning Producing and Producing Learning, Adam Patrick Bell (University of Calgary, Canada) 13. 'When is a Drummer not a Drummer?': Developing Coordination, Musicianship, and Creativity through Electronic Drum Performance, Bryden Stillie (Edinburgh Napier University, UK) 14. Sleepwalkers Beware: Towards a Post-Structuralist Critique of Popular Music in Higher Education, Zack Moir (Edinburgh Napier University, UK, and The University of the Highlands and Islands, UK) and John Hails (Edinburgh Napier University, UK) 15. Facilitating Music Video Projects in the Classroom: From YouTube to Musical Playground, Christopher Cayari, Purdue University, USA) Part IV: Popular Music Education in Schools 16. Music in the School: Significance and Purpose, John Finney (University of Cambridge, UK) 17. Creativity, Innovation, and Spontaneity: Popular Music Education and Orff Schulwerk, Martina Vasil (University of Kentucky, USA) 18. Electrifying Tonality: Teaching Music Theory with the Electric Guitar, Lajos Steffen Incze (McGill University, Canada and Beijing National Day School, China) 19. Popular Music in the Classroom: Perspectives of Pre-Service Music Educators, Fraser Burke Gottlieb (independent scholar, Canada) 20. Popular Music in the High School: Crafting and Implementing a Curriculum, Julie Beauregard (Penfield Central School District, USA) Part V: Identity, Meaning and Value in Popular Music Education 21. Popular Music Education: Identity, Aesthetic Experience and Eudaimonia, Gareth Dylan Smith (Little Kids Rock, USA) 22. 'I See You Baby…': Expressive Gesture in Popular Music Pedagogy, Liz Pipe (University of West London, UK) 23. Breaking Down Barriers to Participation: Perspectives of Female Musicians in Popular Music Ensembles, Bryan Powell (Montclair State University, USA) 24. 'Something for All of Us': Indie Ethics in Popular Music Education, Lloyd McArton and Nasim Niknafs (University of Toronto, Canada) 25. Children's Construction of Cultural Knowledge and Musical Identity: Beats and Rhymes (A Case Study), Karen Howard (University of St. Thomas, USA) Part VI: Formal Education, Creativities and Assessment 26. Taking a Note for a Walk: Improvising Assessment/Assessing Improvisation, Paul Kleiman (Middlesex University, UK) 27. 'How Do I Get the Grades?': Creativity and Conflicts of Motivation, Risk and Reward, Renee Stefanie (Edinburgh Napier University, UK) 28. Popular Music: Benefits and Challenges of Schoolification, Radio Cremata (Ithaca College, USA) 29. Digital Storytelling, Reflective Teacher Inquiry, and Student Learning: Action Research via Media Technology, Daniel A. Walzer (University of Massachusetts Lowell, USA) 30. Techno DIY: Teaching Creativity Through Music Production Education, Ross Bicknell (Institute of Contemporary Music Performance, UK) Part VII: Summary Section 31. The Many Roads to Popular Music Education: The Road Goes on Foerver, John Kratus (Michigan State University, USA) References Index
Zack Moir is a Lecturer in Popular Music at Edinburgh Napier University, UK and an active composer and performer. Bryan Powell is an Assistant Professor of Music Education and Music Technology at Montclair State University, USA, founding editor of the Journal of Popular Music Education, and Executive Director of the Association for Popular Music Education. Gareth Dylan Smith is Manager of Program Effectiveness at Little Kids Rock, Visiting Research Professor at New York University, USA, and founding editor of the Journal of Popular Music Education.
Reviews for The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices
The proliferation of scholarship on popular music education in recent times is exciting, but daunting. It was thus absolutely delightful to read The Bloomsbury Handbook of Popular Music Education, an eclectic but cogent collection that, as its subtitle suggests, celebrates diverse perspectives and practices. Chapter after chapter provides insights that help to bring understandings of the field into sharper focus. Highly recommended! * Roger Mantie, Associate Professor and Program Director, Music and Culture, University of Toronto, Canada * Offers a fascinating glimpse into the diverse ways we play, teach, and interact with contemporary music in a variety of contexts. I particularly appreciate hearing the voices of music educators whose perspectives are not frequently heard in the research literature. Essential for anyone interested in exploring the unique experiences of researchers and practitioners involved in popular music education. * Virginia Davis, Professor of Music Education, University of Texas Rio Grande Valley, USA * A valuable new resource on the perspectives and practices related to the use of popular music in education, this collection of essays by well-known educators and musicians addresses many significant topics, such as the conception of popular music education and creativity. These essays also offer an assessment of popular music education, musical meaning, identity, and values of popular music education and professional development in music education, ranging from formal to informal and from school to higher education in international contexts. * Wai-Chung Ho, Professor of Music Education and Sociology of Music, Hong Kong Baptist University, Hong Kong * Moir, Powell, and Smith have provided a thoughtful landscape for artists, teachers, researchers, and teacher educators to consider the different roles, settings, routines, and practices of popular music and popular music education. Presenting a variety of situations and experiences, from considering the versatility of an artist’s voice in popular music, to the online technological opportunities which might foster musical communities, to strategies for incorporating popular music through traditional methods such as Orff, the authors challenge us to think beyond methods and best practices that “teach” popular music invite us to consider frameworks for learning with and through popular music. This book is a superb contribution that combines the authors’ artistic expertise with practical examples for classroom applications. * Cara Bernard, Assistant Clinical Professor of Music Education, Neag School of Education, University of Connecticut, USA * This book makes a gratifying addition to the blossoming field of popular music education, shining a light on a range of key topics - from theory and literacy to songwriting, record production and beyond. A valuable resource for anyone who takes seriously the challenge of teaching popular music well. * Matt Brennan, Reader in Popular Music, University of Glasgow, UK *
