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Relevant bibliographies by topics / Popular music pedagogy / Books

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Books on the topic 'Popular music pedagogy'

Author: Grafiati

Published: 19 February 2023

Last updated: 20 February 2023

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1

Pop-culture pedagogy in the music classroom: Teaching tools from American idol to YouTube. Lanham, [Md.]: Scarecrow Press, 2010.

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2

Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.

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3

Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.

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4

Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.

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5

Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.

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6

Anthony, Brendan. Music Production Cultures: Perspectives on Popular Music Pedagogy in Higher Education. Taylor & Francis Group, 2022.

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7

Music, Informal Learning and the School: A New Classroom Pedagogy (Ashgate Popular and Folk Music). Ashgate Pub Co, 2008.

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8

Ain't I a Diva?: Beyoncé and the Power of Pop Culture Pedagogy. The Feminist Press at CUNY, 2019.

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9

Clarke, Cheryl, and Kevin Allred. Ain't I a Diva?: Beyoncé and the Power of Pop Culture Pedagogy. Feminist Press at The City University of New York, 2019.

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10

Biamonte, Nicole. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube. Scarecrow Press, Incorporated, 2010.

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11

Biamonte, Nicole. Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to Youtube. Scarecrow Press, Incorporated, 2010.

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12

Kladder, Jonathan R. Commercial and Popular Music in Higher Education: Expanding Notions of Musicianship and Pedagogy in Contemporary Education. Routledge, 2022.

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13

Commercial and Popular Music in Higher Education: Expanding Notions of Musicianship and Pedagogy in Contemporary Education. Routledge, 2022.

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14

Kladder, Jonathan R. Commercial and Popular Music in Higher Education: Expanding Notions of Musicianship and Pedagogy in Contemporary Education. Taylor & Francis Group, 2022.

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15

Kladder, Jonathan R. Commercial and Popular Music in Higher Education: Expanding Notions of Musicianship and Pedagogy in Contemporary Education. Taylor & Francis Group, 2022.

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16

Kladder, Jonathan R. Commercial and Popular Music in Higher Education: Expanding Notions of Musicianship and Pedagogy in Contemporary Education. Taylor & Francis Group, 2022.

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17

Abrahams, Frank, and Paul D. Head, eds. The Oxford Handbook of Choral Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.001.0001.

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This text explores varied perspectives on teaching, learning, and performing choral music. Authors are academic scholars and researchers as well as active choral conductors. Topics include music programming and the selection of repertoire; the exploration of singer and conductor identity; choral traditions in North America, Western Europe, South America, and Africa; and the challenges conductors meet as they work with varied populations of singers. Chapters consider children’s choirs, world music choirs, adult community choirs, gospel choirs, jazz choirs, professional choruses, collegiate glee clubs, and choirs that meet the needs of marginalized singers. Those who contributed chapters discuss a variety of theoretical frameworks including critical pedagogy, constructivism, singer and conductor agency and identity, and the influences of popular media on the choral art. The text is not a “how to” book. While it may be appropriate in various academic courses, the intention is not to explain how to conduct or to organize a choral program. While there is specific information about vocal development and vocal health, it is not a text on voice science. Instead, the editors and contributing authors intend that the collection serve as a resource to inform, provoke, and evoke discourse and dialogue concerning the complexity of pedagogy in the domain of the choral art.

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18

Gotham, Mark, Kyle Gullings, Chelsey Hamm, Megan Lavengood, John Peterson, Bryn Hughes, and Brian Jarvis. OPEN MUSIC THEORY. 2nd ed. VIVA Open Publishing, 2021.

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19

Patch, Justin. The Case for Pop Ensembles in the Curriculum. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0006.

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Music programs should include pop pedagogy, a serious engagement with applied popular music, as they adjust their curricula for the twenty-first century. Pop pedagogy is relevant for pragmatic reasons of future employment and also to meet long-standing missions of higher education. Pop performance, arranging, and songwriting have implications beyond creating music professionals—they open a music department up to students who might never take classes otherwise, teach critical communication skills and civics, provide opportunities for student leadership and applied learning, and prepare skilled amateur musicians for lifelong engagement with music making. Through flipping the classroom and creating a rigorous atmosphere for students to engage with musics that they regularly listen to and participate in, pop ensembles augment the intellectual and practical experiences of students, diversify the curriculum, and keep music education relevant.

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20

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.

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21

Talty, Jack. Noncanonical Pedagogies for Noncanonical Musics. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0005.

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This chapter explores the ways in which a selection of European pedagogues and institutions involved in folk, traditional, world music, and popular music education navigate a world of music pedagogy that has been historically dominated by the Western classical tradition. More specifically, it interrogates how pedagogues draw on, adapt, or depart from Western classical pedagogy to manage “canonicity” in music education and to negotiate the needs and expectations of local musical communities. The research, informed by interviews conducted with individuals at eight European music departments, suggests that pedagogical ideologies that are self-reflexive and flexible are easily tailored to suit specific educational goals. Further, collaborative dialogue between higher education and extra-institutional practitioners ensures that perceived disconnects between higher education and community are mitigated.

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22

Musica, region y pedagogia: El caso de la musica popular en Boyaca. Instituto Andino de Artes Populares, 1989.

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23

Universidad, musicas urbanas, pedagogia y cotidianidad. Editorial Universidad Pedagógica Nacional, 2004.

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24

Universidad, Musicas Urbanas, Pedagogia y Cotidianidad. Not Avail, 2005.

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25

Schubert, William H., and Ming Fang He. The Oxford Encyclopedia of Curriculum Studies. Oxford University Press, 2021. http://dx.doi.org/10.1093/acref/9780190887988.001.0001.

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115 entries The Oxford Encyclopedia of Curriculum Studies (OECS) addresses the central question of Curriculum Studies as: What is worthwhile? The articles show how the public, personal and educational concerns about composing lives are the essence of curriculum. Writ large, Curriculum Studies pertains to what human beings should know, need, experience, do, be, become, overcome, contribute, share, wonder, imagine, invent, and improve. While the OECS treats curriculum as definitely central to schooling, it also shows how curriculum scholars also work on myriad other institutionalized and non-institutionalized dimensions of life that shape the ways humans learn to perceive, conceptualize, and act in the world. Thus, while OECS treats perennial curriculum categories (e.g., curriculum theory, history, purposes, development, design, enactment, evaluation), it does so through a critical eye that provides counter-narratives to neoliberal, colonial, and imperial forces that have too often dominated curriculum thought, policy, and practice. Thus, OECS presents contemporary perspectives on prevailing topics such as science, mathematics, social studies, literacy/reading/literature/language arts, music, art, physical education, testing, special education, liberal arts, many OECS articles also show how curriculum is embedded in ideology, human rights, mythology, museums, media, literature/film, geographical spaces, community organizing, social movements, cultures, race relations, gender, social class, immigration, activist work, popular pedagogy, revolution, diasporic events, and much more. To provide such perspectives, articles draw upon diverse scholarly traditions in addition to (though including) established qualitative and quantitative approaches (e.g., feminist, womanist, oral, critical theory, critical race theory, critical dis/ability studies, Indigenous ways of knowing, documentary, dialogue, postmodern, cooperative, posthuman, and diverse modes of expression). Moreover, such orientations (often drawn from neglected work Asia, the Global South, Aboriginal regions, and other often excluded realms) reveal positions that counter official or dominant neo-liberal impositions by emphasizing hidden, null, outside, material, embodied, lived, and transgressive curricula that foster emancipatory, ecologically interdependent, and continuously growing constructs.

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