This book provides a manuscript-megaphone for a variety of perspectives on popular music education, including those we do not usually hear from, but who are doing far and away the coolest, most relevant and most interesting things.
It includes rants, manifestos, and pieces that are pithy and punchy and poignant, which have resulted in a wide tonal variety among chapters, from more traditionally scholarly pieces replete with citations and references, through descriptions of practice, to straight-up polemics. It is more about beliefs, experiences and motivation, about frustrations, aspirations and celebrations. The chapters are intended to whet appetites, prime pumps, open eyes, and keep cogs turning. This book is organized into four parts: Beyond the Classroom, Identity and Purpose, Higher Education and Politics and Ideology. This book is intended for academics of all ages and stages, but the writing is often deliberately non-academic in tone.
The book will appeal to those working in popular music studies, communication studies, education research, and should be of interest to those involved in policy decisions at national and regional levels. It is also directly relevant to researchers looking music industry and music ecosystems nationally, regionally and internationally, as education and popular music industry, DIY and community sectors continue to enmesh in complex and evolving ways.
قائمة المحتويات
Acknowledgements xi
Introduction xiii
Gareth Dylan Smith and Bryan Powell
PART I: BEYOND THE CLASSROOM 1
1. ‘Something to Talk About’: Intersections of Music, Memory, Dialogue and Pedagogy at the Rock and Roll Hall of Fame 5
Jason Hanley
2. Learning to be Active: The Formative Power of Music as a Catalyst for Political Activism 11
Stuart Moir
3. Mariachi Master-Apprentice Program: Familia During the COVID-19 Pandemic 17
Sergio Alonso
4. People and Popular Music in an English Prison: Transforming Criminal Justice 24
Natalie Betts
5. Popular Music Pedagogy in a United States Prison: Lessons from a Western Rural Facility 30
Tiger Robison
6. Developing a Certifiable and Relevant Popular Music Curriculum for Early School-Leavers in Ireland 34
Martin Ryan
7. Project Gametime: Hip-Hop and After-School Programmes 40
Kenrick Wagner
8. In Conversation with Eleanor Rashid, Music Practitioner 43
Eleanor Rashid and Gareth Dylan Smith
9. Reciprocal Benefits of Music Cities and Modern Band 46
Bryce Merril and Tom Scharf
10. Berklee City Music Programme: Teaching and Learning Through Contemporary Popular Music 52
Krystal Prime Banfield
11. A New Generation: An Intrinsic Case Study of a Club DJ’s Formal Learning Experiences 58
Eva J. Egolf
12. Playing with Vocal Processing Technologies: Fostering Interaction with Children with Special Educational Needs 63
Roshi Nasehi
13. The Oneonta Hip Hop Collective: Students Owning the Moment 68
Joseph Michael Pignato
14. Rockway and Formal–Informal Online Music Learning in Finland 74
Niklas Lindholm
15. How Do We Get Girls and Non-Binary Students to Play Guitar Solos? 79
Kayla Rush
16. Learning to Become a Band, Learning Popular Music 85
Tobias Malm
17. Popular Music is Not the Answer 90
Abigail D’Amore
PART II: IDENTITY AND PURPOSE 97
18. Life as a Cabaret: Singing Our Ideal Self into Being 101
Felix Graham
19. My Therapist Said It’s FINE: The Duality of Being a Music(ian) Teacher 107
Sheena Dhamsania
20. Pursuing Popular Music Shapes Me as a Scholar, Musician and Human 110
Christopher Cayari
21. I’ve Learned Three Chords. Now What? 115
Roger Mantie
22. Intersections and Roundabouts: Connecting In-School and Out-of-School Experiences to Teaching Practices 120
Steve Holley
23. Different from the Norm: Teaching Band in Alabama 126
Shane Colquhoun
24. Popular Music Education as a Place for Emergent Pedagogies 131
Meghan K. Sheehy
25. Think Big, Start Small: Enacting Change in Higher Education 137
Martina Vasil
26. Becoming a Popular Music Educator: A Personal Journey 142
Matthew Clauhs
27. Confessions of a Deadhead Music Educator: Connecting Worlds 148
James Frankel
28. A Personal Journey with Popular Music in Paraguay 153
Sol Elisa Martinez Missena
29. From Bowing my Double Bass to Pushing My Push: A Swedish Journey from Music Education to Popular Music Educator 157
Erik Lundahl
30. From A. R. Rahman to Ed Sheeran: How Informal Learning Practices can Inform Music Teaching 162
Shree Lakshmi Vaidyanathan
31. What’s Words Worth: A Short Polemic on the Citation of Lyric 168
Andy West
32. Inclusion or Exclusion? The Disconnect Between School Music Programmes and Students’ Lived Musical Experiences 171
Aixa Burgos
33. Finding Her Voice: A Female DIY Musician’s Pedagogical Spaces and Practices for Popular Tamil Film Music in Chennai, South India 175
Nina Menezes
34. Teaching Queer 182
Mia Ibrahim
35. Computer Science && Popular Music Education 187
Jared O’Leary
36. We Are Music Technology (and How to Change Us) 192
adam patrick bell
37. Connecting Black Youth to Critical Media Literacy Through Hip-Hop Making in the Music Classroom 198
Jabari Evans
PART III: HIGHER EDUCATION 203
38. Crushed by the Wheels of Industry 207
Martin Isherwood
39. Towards Popular Music Education as an Institutional Norm 213
Lloyd Mc Arton
40. Ideological Extrojection: The De-Neoliberalization of UK Music Education 219
Jason Huxtable
41. On the Pulse of Change Through Popular Music Nourishing Teachers’ Professional Identities 225
Siew Ling Chua
42. The Conservatory as Exploratory 230
Richard Smith
43. Is Higher Popular Music Education Still Relevant? 235
Gemma Hill
44. Music Teacher Education in the United States is Failing its Students 239
Candice Davenport Mattio
45. Imagining a Credential for Music Technology Education 245
Daniel Walzer
46. The Price of Admission: Amateurism, Serious Leisure and the Faculty Band 250
Virginia Wayman Davis
47. Vocal Diversity and Evolving Contemporary Voice Pedagogy 256
Ana Flavia Zuim
48. Student and Tutor Life Worlds and Impossible Standards in Higher Popular Music Education 261
Hussein Boon
49. Places and Spaces of Popular Music Production Pedagogy in Higher Education 267
Brendan Anthony
50. Fostering a Sense of Belonging in the Recruitment of Underrepresented Students at Purdue University 273
James Dekle
51. Awakening Spirituality in Brazilian Higher Music Education 279
Heloisa Feichas
52. Embracing Innocence, Uncertainty and Presence in Popular Music Performance 285
Jay Stapley
53. How I Relearned to Give a Shit 290
David Knapp
PART IV: POLITICS AND IDEOLOGY 297
54. We Are Not Neutral: Popular Music Education, Creativity and the Active Creation of a Graduate Precariat 301
Zack Moir
55. Toward the Political Philosophy of Hip-Hop Education and Positive Energy in China 307
Wai-Chung Ho
56. Structural and Cultural Barriers to Relevant Popular Music Education in India 314
Nilesh Thomas and Saurav Ghosh
57. Popular Music Education as a Liberating Education 320
Flávia Narita
58. Young, Gifted and Black Q.U.E.E.N.: Nuancing Black Feminist Thought within Music Education 326
Jasmine Hines
59. Decolonizing Higher Music Education: Person Versus Persona 332
Adriel E. Miles
60. My Vision for Popular Music Education 338
Nathan Holder
61. External Examining: An Insider Perspective on a Neocolonial Practice 343
Gareth Dylan Smith
62. Cripping Popular Music Education 349
Jesse Rathgeber
63. Excessive Pedagogical Moments: A Deaf-Gay Intersectional Duet 355
Warren Churchill
64. Race, Caste, American Democracy and Popular Music Education 361
David Wish
65. The Problem of Conversion in Music Teacher Education in the United States 367
Radio Cremata
66. Expanding the Reach of Music Education through Modern Band 373
Scott R. Sheehan
67. Lessons from Community Music and Music Therapy: Beyond Familiar Comparisons 378
Bryan Powell
68. Adolescence, Education and Citizenship: Tracing Intersecting Histories and Reimagining Popular Music Pedagogies 383
Noah Karvelis
69. #Songs Of Black Lives Matter: Co-creating and Developing an Activist Music Education Praxis Alongside Youth 389
Martin Urbach
70. From Black Lives Matter to Black Music Matters: Crossing the Rhetorical Divide 396
Ed Sarath
Notes on Contributors 399
Index 411
عن المؤلف
Gareth Dylan Smith is an assistant professor of music, music education at Boston University. His research interests include drumming, punk pedagogies and eudaimonia in music making. His most recent book is A Philosophy of Playing Drum Kit: Magical Nexus (Cambridge University Press, 2002), and his forthcoming duets album, Permission Granted, is a collection of conversations from the drums.
Contact: Boston University College of Fine Arts School of Music, 855 Commonwealth Ave, Boston, MA 02215, USA.
المزيد من الكتب الإلكترونية من نفس المؤلف (المؤلفين) / محرر
32٬683 كتب إلكترونية في هذه الفئة
