The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices

Cover\nHalf title\nSeries\nTitle\nCopyright\nContents\nList of Figures\nContributors\nForeword\nAcknowledgments\nIntroduction: Popular Music Education: Perspectives and Practices\nPart I Conceptualizing Popular Music Education\n	1 Setting the Agenda: Theorizing Popular Music Education Practice\n	2 Popular Music Education: A Way Forward or a New Hegemony?\n	3 Considering Techne in Popular Music Education: Value Systems in Popular Music Curricula\n	4 Tertiary Popular Music Education: Institutions, Innovation and Tradition\n	5 The Vanishing Stave? Considering the Value of Traditional Notation Skills in Undergraduate Popular Music Performance Degrees\nPart II Musical, Creative, and Professional Development\n	6 Learning Experiences of Expert Western Drummers: A Cultural Psychology Perspective\n	7 Breaking into a “Scene”: Creating Spaces for Adolescents to Make Popular Music\n	8 What the Masters Teach Us: Multitrack Audio Archives and Popular Music Education\n	9 Singers in Higher Education: Teaching Popular Music Vocalists\n	10 The Adapted Expressive Performance Approach: Performance Techniques for Musicians with Learning Disabilities\nPart III Originating Popular Music\n	11 Songwriting Pedagogy in Higher Education: Distance Collaboration and Reflective Teaching Practices\n	12 Of Trackers and Top-Liners: Learning Producing and Producing Learning\n	13 When Is a Drummer not a Drummer? Developing Coordination, Musicianship, and Creativity through Electronic Drum Performance Bryden Stillie\n	14 Sleepwalkers, Beware: Toward a Post-Structuralist Critique of Popular Music in Higher Education\n	15 Facilitating Music Video Projects in the Classroom: From YouTube to Musical Playground\nPart IV Popular Music Education in Schools\n	16 Music in the School: Significance and Purpose\n	17 Nonformal Teaching and Informal Learning: Popular Music Education and Orff Schulwerk\n	18 Electrifying Tonality: Teaching Music Theory with the Electric Guitar\n	19 Popular Music in the Classroom: Perspectives of Preservice Music Educators\n	20 Popular Music in the High School: Crafting and Implementing a Curriculum\nPart V Identity, Meaning, and Value in Popular Music Education\n	21 Popular Music Education: Identity, Aesthetic Experience, and Eudaimonia Gareth\n	22 “I See You, Baby …”: Expressive Gesture and Nonverbal Communication in Popular Music Performance Education\n	23 Breaking Down Barriers to Participation: Perspectives of Female Musicians in Popular Music Ensembles\n	24 “Something for All of Us”: Indie Ethics in Popular Music Education\n	25 Children’s Construction of Cultural Knowledge and Musical Identity: Beats and Rhymes (A Case Study)\nPart VI Formal Education, Creativities, and Assessment\n	26 Taking a Note for a Walk: Improvising Assessment/Assessing Improvisation\n	27 “How Do I Get the Grades?” Creativity and Conflicts of Motivation, Risk, and Reward\n	28 Popular Music: Benefits and Challenges of Schoolification\n	29 Digital Storytelling, Reflective Teacher Inquiry, and Student Learning: Action Research via Media Technology\n	30 Techno DIY: Teaching Creativity through Music Production\nPart VII Epilogue\n	31 On the Road to Popular Music Education: The Road Goes on Forever\nIndex