The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices

Contents

• 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