I. Introduction
1. Foreword
Lucy Green
2. Popular Music Education (R)evolution
Gareth Dylan Smith, Zack Moire, Matt Brennan, Shara Rambarran & Phil Kirkman
3.Popular Music Education: A Step into the Light
Rupert Till
II. Past, present and future
4. The Historical Foundations of Popular Music Education in the United States
Andy Krikun
5. Navigating the Spcae Between Spaces: Curricular Change in Popular Music Teacher Education in the United States
David Williams & Clint Randles
6. Developing Learning Through Producing: Secondary School Students' Experiences of a Technologically Aided Pedagogical Intervention
Aleksi Ojala
7. A Historical Review of the Social Dynamics of School Music Education in Mainland China: A Study of the Political Power of Popular Songs
Wai-Chung Ho
8. Towards 21st Century Music Teaching-Learning: Reflections on Student-centric Pedagogic Practices Involving Popular Music in Singapore
Siew-Ling Chua & Hui Ping Ho
9. Popular Music Education in Hong Kong: A Case Study of the Baron School of Music
Hei-Ting Wong
10. Mediations, Institutions and Post-Compulsory Popular Music Education
Seán McLaughlin
11 Where to now? The Current Condition and Future Trajectory of Popular Music Studies in British Universities
Simon Warner
12. Parallel, Series, and Integrated: Models of Tertiary Popular Music Education
Gavin Carfoot, Brad Millard, Samantha Bennett & Christopher Allan
III. Curricula in popular music
13. Do The Stars Know Why They Shine? An Argument for Including Cultural Theory in Popular Music Programmes
Emma Hooper
14. I've Heard There Was a Secret Chord’: Do We Need to Teach Music Notation in UK Popular Music Studies?
Paul Fleet
15. 'Art' to Artistry: A Contemporary Approach to Vocal Pedagogy
Diane Hughes
16. Defeating the Muse: Advanced Songwriting Pedagogy and Creative Block
Jo Collinson-Scott
17. Missing a Beat: Exploring Experiences, Perceptions and Reflections of Popular Electronic Musicians in UK Higher Education Institutions
Paul Thompson & Alex Stevenson
18. Artists to Teachers – Teachers to Artists: Providing a Space for Aesthetic Experience at Secondary Schools through Popular Music
Axel Schwarz & David-Emil Wickström
19. Musical Listening: Teaching Studio Production in an Academic Institution
Eirik Askeroi & André Viervoll
20. Popular Music and Modern Band Principles
Bryan Powell & Scott Burstein
IV. Careers, entrepreneurship and marketing
21. Professional Songwriting: Creativity, the Creative Process, and Tensions Between Higher Education Songwriting and Industry Practice in the UK
Matt Gooderson & Jennie Henley
22. Popular Music Pedagogy: Dual Perspectives on DIY Musicianship
Don Lebler & Naomi Hodges
23. Towards a Framework for Creativity in Popular Music Degrees
Joe Bennett
24. Re-Mixing Popular Music Marketing Education
Ray Sylvester & Daragh O'Reilly
25. University Music Education in Colombia: The Multidimensionality of Teaching and Training
Luz Rivas Caicedo
26. Popular Music Entrepreneurship in Higher Education: Facilitating Group Creativity and Spin-off Formation Through Internship Programmes
Guy Morrow, Emily Gilfillan, Iqbal Barkat & Phyllis Sakinofsky
27. Teaching Music Industry in Challenging Times: Addressing the Neoliberal Employability Agenda in Higher Education at a Time of Music-Industrial Turbulence
Michael Jones
V. Social and critical issues
28. Popular Music Meta-Pedagogy in Music Teacher Education
Ian Axtell, Martin Fautley & Kelly Davey Nicklin
29. A Place in the Band: Negotiating Barriers to Inclusion in a Rock Band Setting
Jesse Rathgeber
30. Teaching the Devil’s Music: Some Intersections of Popular Music, Education and Morality in a Faith School Setting
Tom Parkinson
31. Social Justice and Popular Music: Building a Generation of Artists Impacting Social Change.
Sheila Woodward
32. Popular Music and (R)evolution of the Classroom Space: Occupy Wall Street in the Music School
Nasim Niknafs & Liz Przybylski
33. Popular Music Education, Participation and Democracy: Some Nordic Perspectives
Catharina Christophersen & Anna Karin Gullberg
34. Feral Pop: The Participatory Power of Improvised Popular Music
Charlie Bramley & Gareht Dylan Smith
35. Epistemological and Sociological Issues in Popular Music Eduation
David G. Hebert, Joseph A. Abramo & Gareth Dylan Smith
Gareth Dylan Smith is Research Fellow at the Institute of Contemporary Music Performance in London. He is founding co-editor of the Journal of Popular Music Education, lead editor of the forthcoming Punk Pedagogies in Practice, and co-author, with Hildegard Froehlich, of Sociology for Music Teachers: Practical Applications (second edition). Gareth’s research interests include identity, music and leisure, eudaimonism, autoethnographic research methods, and embodiment in performance. He plays drums with V1, Oh Standfast and Stephen Wheel.
Zack Moir is a Lecturer in Popular Music at Edinburgh Napier University and the University of the Highlands and Islands, UK. His research interests are in popular music in higher education, popular music composition pedagogy, and the teaching and learning of improvisation. He is an active composer and performer, and has published on the topics of popular music pedagogy, popular music making and leisure, and popular music songwriting/composition.
Matt Brennan is a Chancellor’s Fellow of Music at the University of Edinburgh and has served as Chair of the UK and Ireland branch of the International Association for the Study of Popular Music (IASPM). His current research interests are the drum kit, live music, and music and sustainability. He is the co-author of The History of Live Music in Britain (2013) and is currently writing a social history of the drum kit.
Shara Rambarran is Assistant Professor of Music at the Bader International Study Centre, Queen’s University, Canada. She received her PhD in Music from the University of Salford, UK. Her research interests include popular musicology, postproduction, digital technology, remixology, music industry, events management, education and law (Intellectual Property Rights). She is an editor of the Journal on the Art of Record Production and co-editor of The Oxford Handbook of Music and Virtuality (2016).
Phil Kirkman is Principal Lecturer at Anglia Ruskin University. He was previously Course Director for Music and for Professional Studies (PGCE) at the University of Cambridge. Before this, Phil worked for over a decade as a teacher, pastoral manager and department leader in UK secondary schools. He regularly consults and provides training for education professionals in the UK and internationally. Phil's current research interests include educational technologies, innovative pedagogy, dialogic education and practitioner research.
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