The Routledge Research Companion to Popular Music Education

Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Routledge Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological.

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