The Intellect Handbook of Popular Music Methodologies attempts a comprehensive overview of methodological approaches within the field of popular music studies. Alongside contributions from key thinkers already established in popular music studies, the strength of the collection lies in its inclusion of many new and emerging writers in the field. Therefore, the collection incorporates a wide range of practitioners, pedagogues and academics from an extensive range of disciplines, and thus drawing from a diversity of methodological approaches. These include those that are perhaps more established, such as semiotics, ethnography and psychology, alongside exciting new approaches within popular music, including eco-musicology, religion, intersectionality and archeology. Although previous books have provided an overall of concepts studied within popular music studies, this will be the first comprehensive Handbook of popular music methodologies.
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Runchao Liu and Jessica A. Schwartz Critical Popular Music Studies: Interrogating the Methodological Meanings and Discursive Politics of ‘Critical’ and ‘Popular’
Michael Kahr and Wolf-Georg Zaddach Methods for the 21st Century: Artistic Research as a new Research Paradigm in Popular Music Studies
Simon Zagorski-Thomas Theorising Aesthetics In A Practical Musicology
Caroline Govari and Adriana Amaral Biographical Method and Interview as Techniques in Brazilian Communication and Music Studies
Nick Braae Beyond Popular Song: Analysing Persona-Environment Relationships in Contemporary Musical Theatre
Eleftherios Zenerian The Cultural Imagination and Its Role in Researching Popular Music
Brian A. Inglis Semiotics as a Mode of Popular Music Analysis and Interpretation
Russ Bestley Form and Function: Deconstructing Music Graphics
Sarah Baker, Zelmarie Cantillon, Jennifer Chubb, Paul Graves-Brown, Suzy Harrison, Brett Lashua, Liam Maloney, Jack Mc Neill, Raphaël Nowak, Hilary Orange, Yorgos Paschos, Aleen Stanton and John Schofield Do-it-together: Punk Methodologies for Researching the Heritage of Popular Music
Kirsty Fife Records, Subjects and Agents: Exploring Archives of Popular Music Through Critical Archival Studies
Dana De Vlieger Issues in United States Forensic Musicological Analysis of Popular Music
Rob Upton The Cover-version Spectrum: Reframing the Relationship between Imitation and Transformation in Pop-Punk Cover-versions
Paul Thompson and Barkley Mc Kay Digging in the Takes: Using Archaeological Approaches to Study Popular Music History
Michael Ahlers and Carsten Wernicke Artefact Analysis – Focused Musical Artefact Analysis
Florian Heesch and Daniel Suer Adele Clarke’s Situational Analysis and Its Potential for Popular Music Studies
Tenley Martin Cosmopolitan Hubs: Glocalization and Non-native Culture Brokers in the Globalization of Popular Music Cultures
Gareth Dylan Smith Art Gallery Drum Kit Solos, Spirituality and Practical Musicology
Raquel Campos Valverde Ethnographic Methods and Ethics for Online Cultures of Popular Music
Iain Findlay-Walsh Internet Pop Reception as Sonic Autoethnography – Circulating Music Story and Self Online
Sadie Hochman-Ruiz Is it Drag?: Trans Perspectives on Queering Popular Music Research
Ryan J. Lambe Staying in the Field: Emotional Labour and Trauma in Popular Music Ethnography
Na Li Representing Power Through China Wind Music: The Soft and Hard Masculinities of the Nation
Hussein Boon The Conferralist Framework – Method and Application in Popular Music Studies
Priscila Alvarez-Cueva When ‘Up for It’ Is Not for Everyone. From Content Analysis to The Music Analysis of Sexualisation Model (MAS-Model): An Approximation of Contemporary Music From a Decolonial Lens.
Sini Timonen Person-Centered Popular Music Education: Negotiating Gender, Community and Industry Expectations
Bryan Powell Popular Music Education Methodologies in the United States: And Overview
Chris Whiting Process-based Pedagogies for Creative Practice Studies
Alethea De Villiers Reflective Piano Pedagogy: Improvisation and Composition in Classical and Contemporary Repertoires
Pat O’Grady Popular Music Production: Rethinking Recording Studio Labels
Simone Tosoni and Alessandro Ricotti Exploring Post-Subcultural Participation through a Practice-Centred Approach: The Case of the Vaporwave (Virtual) Scene
Adam J. Goldwyn Recovery Studies and Pop Musicology: The Twelve Steps as Lyrical, Visual, and Sonic Rhetoric
Jo Haynes and Raphaël Nowak When Is a Music Audience? The Challenges of a Sociological Perspective of Music Audiences in the Platform Age
Marcus Moberg and Christopher Partridge Studying Religion and Popular Music
Mike Dines In Search of Krishna: Narrative Enquiry and the Trajectory of the Spiritual in Krishnacore
Tore Størvold Confronting Climate Change in Popular Music Texts: Nostalgia, Apocalypse, Utopia
Marc Brooks Do Meat-Eaters Dream of Vengeful Sheep? Towards a Methodology for Animal-Oriented Music Criticism
Maria Perevedentseva An Ecosemiotic Approach to the Analysis of Timbre
Kirsten Hermes Research Methods in Live Electronic Music and Audio-Visual Performance
Hon-Lun Helan Yang and Edmond Tsang Yik-Man Technology, Creativity, and Pop Music Production: In the Case of Cantopop
Alessandro Gandini and Maurizio Corbella From Spotify to Spoti Ge M: Studying Playlist Cultures with Qualitative Digital Methods
Eulalia Febrer Coll Popular Music in Esports, On and Beyond the Stage
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Gareth Dylan Smith is assistant professor of music, music education at Boston University. His research interests include drumming and punk pedagogies. His most recent monograph is A Philosophy of Playing Drum Kit: Magical Nexus (Cambridge, 2022). His debut album, Permission Granted, is a collection of conversations from the drums, released in June 2024.
Contact: 855 Commonwealth Ave, Boston, MA 02215, USA.
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