Mike Dines & Shara Rambarran 
The Intellect Handbook of Popular Music Methodologies [EPUB ebook] 

Foreword

Derek B. Scott
Acknowledgements

Introduction: Mapping the Field: Explorations in the Study of Popular Music

Shara Rambarran, Mike Dines and Gareth Dylan Smith

PART ONE: FOUNDATIONAL APPROACHES TOWARDS A MUSICOLOGY OF POPULAR MUSIC

1. Critical Popular Music Studies: Interrogating the Methodological Meanings and Discursive Politics of ‘Critical’ and ‘Popular’

Runchao Liu and Jessica A. Schwartz

2. Methods for the Twenty-First Century: Artistic Research as a New Research Paradigm in Popular Music Studies

Michael Kahr and Wolf-Georg Zaddach

3. Theorizing Aesthetics in a Practical Musicology

Simon Zagorski-Thomas

4. Biographical Method and Interview as Techniques in Brazilian Communication and Music Studies

Caroline Govari and Adriana Amaral

5. Beyond Popular Song: Analysing Persona–Environment Relationships in Contemporary Musical Theatre

Nick Braae

6. The Cultural Imagination and Its Role in Researching Popular Music

Eleftherios Zenerian

7. Semiotics as a Mode of Popular Music Analysis and Interpretation

Brian Andrew Inglis

8. Form and Function: Deconstructing Music Graphics

Russ Bestley

PART TWO: BACK TO THE FUTURE: ARTEFACTS, ARCHAEOLOGY, ARCHIVE AND HERITAGE

9. Do-It-Together: Punk Methodologies for Researching the Heritage of Popular Music

Sarah Baker, Zelmarie Cantillon, Jennifer Chubb, Paul Graves-Brown, Suzy Harrison, Brett Lashua, Liam Maloney, Jack Mc Neill, Raphaël Nowak, Hilary Orange, Yorgos Paschos, John Schofield and Aleen Stanton

10. Records, Subjects and Agents: Exploring Archives of Popular Music through Critical Archival Studies

Kirsty Fife

11. Issues in US Forensic Musicological Analysis of Popular Music

Dana De Vlieger

12. The Cover–Version Spectrum: Reframing the Relationship between Imitation and Transformation in Pop-Punk Cover-Versions

Rob Upton

13. Digging in the Takes: Using Archaeological Approaches to Study Popular Music History

Paul Thompson and Barkley Mc Kay

14. Focused Musical Artefact Analysis

Carsten Wernicke and Michael Ahlers

PART THREE: EXPLORING ETHNOGRAPHIC APPROACHES IN POPULAR MUSIC STUDIES

15. Adele Clarke’s Situational Analysis and Its Potential for Popular Music Studies

Daniel Suer and Florian Heesch

16. Cosmopolitan Hubs: Glocalization and Non-Native Culture

Brokers in the Globalization of Popular Music Cultures

Tenley Martin

17. Art Gallery Drum Kit Solos, Spirituality and Practical Musicology

Gareth Dylan Smith

18. Ethnographic Methods and Ethics for Online Cultures of Popular Music

Raquel Campos Valverde

19. Internet Pop Reception as Sonic Autoethnography: Circulating Music, Story and Self Online

Iain Findlay-Walsh

PART FOUR: SEXUALITY, RACE AND INTERSECTIONALITY IN THE STUDY OF POPULAR MUSIC

20. Is It Drag? Trans Perspectives on Queering Popular Music Research

Sadie Hochman-Ruiz

21. Staying in the Field: Emotional Labour and Trauma in Popular Music Ethnography

Ryan J. Lambe

22. Representing Power through China Wind Music: The Soft and Hard Masculinities of the Nation

Na Li

23. The Conferralist Framework: Method and Application in Popular Music Studies

Hussein Boon

24. When ‘Up for It’ Is Not for Everyone: From Content Analysis to the Music Analysis of Sexualization Model (MAS-Model): An Approximation of Contemporary Music from a Decolonial Lens

Priscila Alvarez-Cueva

PART FIVE: APPROACHES TOWARDS A POPULAR MUSIC PEDAGOGY

25. Person-Centred Popular Music Education: Negotiating Gender, Community and Industry Expectations

Sini Timonen

26. Popular Music Education Methodologies in the United States: An Overview

Bryan Powell

27. Process-Based Pedagogies for Creative Practice Studies

Chris Whiting

28. Reflective Piano Pedagogy: Improvisation and Composition in Classical and Contemporary Repertoires

Alethea de Villiers

29. Popular Music Production: Rethinking Recording Studio Labels

Pat O’Grady

PART SIX: POPULAR MUSIC AND CONNECTEDNESS: RECOVERY STUDIES, MUSIC AUDIENCES AND SPIRITUALITY

30. Exploring Post-Subcultural Participation through a Practice-Centred Approach: The Case of the Vaporwave (Virtual) Scene

Simone Tosoni and Alessandro Ricotti

31. Recovery Studies and Pop Musicology: The Twelve Steps as Lyrical, Visual and Sonic Rhetoric

Adam J. Goldwyn

32. When Is a Music Audience? The Challenges of a Sociological Perspective of Music Audiences in the Platform Age

Jo Haynes and Raphaël Nowak

33. Studying Religion and Popular Music

Marcus Moberg and Christopher Partridge

34. In Search of Krishna: Narrative Enquiry and the Trajectory of the Spiritual in Krishnacore

Mike Dines

PART SEVEN: THINKING AHEAD: EMERGING METHODOLOGIES IN POPULAR MUSIC STUDIES

35. Confronting Climate Change in Popular Music Texts: Nostalgia, Apocalypse, Utopia

Tore Størvold

36. Do Meat-Eaters Dream of Vengeful Sheep? Towards a Methodology for Animal-Oriented Music Criticism

Marc Brooks

37. An Ecosemiotic Approach to the Analysis of Timbre

Maria Perevedentseva

38. Research Methods in Live Electronic Music and Audio-Visual Performance

Kirsten Hermes

39. Technology, Creativity and Pop Music Production: The Case of Cantopop

Hon-Lun Helan Yang and Edmond Tsang Yik-Man

40. Studying Playlist Cultures with Qualitative Digital Methods

Alessandro Gandini and Maurizio Corbella

41. Popular Music in Esports, On and Beyond the Stage

Eulalia Febrer-Coll

Notes on Contributors

Index

Gareth Dylan Smith is an assistant professor of music at Boston University. Gareth plays drums with Stephen Wheel, Black Light Bastards and Austina Lee. His research interests include drumming, musical intimacy, eudaimonia and punk pedagogy. Gareth’s album, Permission Granted and a reimagined Beethoven’s Pathétique (with Austina Lee) are on Anthrophonic Records.
Contact: College of Fine Arts School of Music, Boston University, 855 Commonwealth Avenue, Room 207A, Boston, MA 02215, USA.