Zack Moir is a Lecturer in Popular Music at Edinburgh Napier University, UK and an active composer and performer.Bryan Powell is an Assistant Professor of Music Education and Music Technology at Montclair State University, USA, founding editor of the Journal of Popular Music Education, and Executive Director of the Association for Popular Music Education. Gareth Dylan Smith is Manager of Program Effectiveness at Little Kids Rock, Visiting Research Professor at New York University, USA, and founding editor of the Journal of Popular Music Education.

The proliferation of scholarship on popular music education in recent times is exciting, but daunting. It was thus absolutely delightful to read The Bloomsbury Handbook of Popular Music Education, an eclectic but cogent collection that, as its subtitle suggests, celebrates diverse perspectives and practices. Chapter after chapter provides insights that help to bring understandings of the field into sharper focus. Highly recommended!

• Foreword, Joe Bennett (Berklee College of Music, USA)Introduction: Popular Music Education: Perspectives and Practices, Zack Moir (Edinburgh Napier University, UK), Bryan Powell (Montclair State University, USA) and Gareth Dylan Smith (Little Kids Rock, USA)Part I: Conceptualising Popular Music Education 1. Setting the Agenda: Theorizing Popular Music Education Practice, Simon Zagorski-Thomas (University of West London, UK) and David Henson (University of West London, UK)2. Popular Music Education: A Way Forward or a New Hegemony, Juliet Hess (Michigan State University, USA)3. Considering Techne in Popular Music Education: Value Systems in Popular Music Curricula, Mark Hunter (Middlesex University. UK)4. Tertiary Popular Music Education: Institutions, Innovation, and Tradition, Gavin Carfoot (Queensland University of Technology, Australia) and Brad Millard (Queensland University of Technology, Australia)5. The Vanishing Stave: Reading Traditional Notation in Popular Music Performance Degrees, James Dean (Canterbury Christ Church University, UK)Part II: Musical, Creative and Professional Development6. Learning Experiences of Expert Western Drummers: A Cultural Psychology Perspective, Bill Bruford (independent scholar, UK)7. Breaking into a “Scene”: Creating Spaces for Adolescents to Make Popular Music, Sarah Gulish (Lower Moreland High School, USA)8. What The Masters Teach Us: Multitrack Audio Archives and Popular Music Education,Kirk McNally (University of Victoria, Canada) and Toby Seay (Drexel University, USA)9. Singers in the Academy: Training the Popular Music Vocalist, Kat Reinhert (University of Miami, USA)10. The Adapted Expressive Performance Approach: Performance Techniques for Musicians with Learning Disabilities, Blair Kelly (Kingston College, UK)Part III: Originating Popular Music11. Songwriting Pedagogy in Higher Education: Distance Collaboration and Reflective Teaching Practices, Andrew Krikun (Bergen Community College, USA) and Stephen Matthews (University of Auckland, New Zealand)12. Of Trackers and Top-Liners: Learning Producing and Producing Learning, Adam Patrick Bell (University of Calgary, Canada)13. 'When is a Drummer not a Drummer?': Developing Coordination, Musicianship, and Creativity through Electronic Drum Performance, Bryden Stillie (Edinburgh Napier University, UK)14. Sleepwalkers Beware: Towards a Post-Structuralist Critique of Popular Music in Higher Education, Zack Moir (Edinburgh Napier University, UK, and The University of the Highlands and Islands, UK) and John Hails (Edinburgh Napier University, UK) 15. Facilitating Music Video Projects in the Classroom: From YouTube to Musical Playground, Christopher Cayari, Purdue University, USA)Part IV: Popular Music Education in Schools16. Music in the School: Significance and Purpose, John Finney (University of Cambridge, UK)17. Creativity, Innovation, and Spontaneity: Popular Music Education and Orff Schulwerk, Martina Vasil (University of Kentucky, USA)18. Electrifying Tonality: Teaching Music Theory with the Electric Guitar, Lajos Steffen Incze (McGill University, Canada and Beijing National Day School, China)19. Popular Music in the Classroom: Perspectives of Pre-Service Music Educators, Fraser Burke Gottlieb (independent scholar, Canada)20. Popular Music in the High School: Crafting and Implementing a Curriculum, Julie Beauregard (Penfield Central School District, USA)Part V: Identity, Meaning and Value in Popular Music Education21. Popular Music Education: Identity, Aesthetic Experience and Eudaimonia, Gareth Dylan Smith (Little Kids Rock, USA)22. 'I See You Baby…': Expressive Gesture in Popular Music Pedagogy, Liz Pipe (University of West London, UK)23. Breaking Down Barriers to Participation: Perspectives of Female Musicians in Popular Music Ensembles, Bryan Powell (Montclair State University, USA) 24. 'Something for All of Us': Indie Ethics in Popular Music Education, Lloyd McArton and Nasim Niknafs (University of Toronto, Canada)25. Children's Construction of Cultural Knowledge and Musical Identity: Beats and Rhymes (A Case Study), Karen Howard (University of St. Thomas, USA)Part VI: Formal Education, Creativities and Assessment 26. Taking a Note for a Walk: Improvising Assessment/Assessing Improvisation, Paul Kleiman (Middlesex University, UK)27. 'How Do I Get the Grades?': Creativity and Conflicts of Motivation, Risk and Reward, Renee Stefanie (Edinburgh Napier University, UK)28. Popular Music: Benefits and Challenges of Schoolification, Radio Cremata (Ithaca College, USA)29. Digital Storytelling, Reflective Teacher Inquiry, and Student Learning: Action Research via Media Technology, Daniel A. Walzer (University of Massachusetts Lowell, USA)30. Techno DIY: Teaching Creativity Through Music Production Education, Ross Bicknell (Institute of Contemporary Music Performance, UK)Part VII: Summary Section31. The Many Roads to Popular Music Education: The Road Goes on Foerver, John Kratus (Michigan State University, USA)ReferencesIndex