Gareth Dylan Smith is Research Fellow at the Institute of Contemporary Music Performance in London. He is founding co-editor of the Journal of Popular Music Education, lead editor of the forthcoming Punk Pedagogies in Practice, and co-author, with Hildegard Froehlich, of Sociology for Music Teachers: Practical Applications (second edition). Gareth’s research interests include identity, music and leisure, eudaimonism, autoethnographic research methods, and embodiment in performance. He plays drums with V1, Oh Standfast and Stephen Wheel.Zack Moir is a Lecturer in Popular Music at Edinburgh Napier University and the University of the Highlands and Islands, UK. His research interests are in popular music in higher education, popular music composition pedagogy, and the teaching and learning of improvisation. He is an active composer and performer, and has published on the topics of popular music pedagogy, popular music making and leisure, and popular music songwriting/composition.Matt Brennan is a Chancellor’s Fellow of Music at the University of Edinburgh and has served as Chair of the UK and Ireland branch of the International Association for the Study of Popular Music (IASPM). His current research interests are the drum kit, live music, and music and sustainability. He is the co-author of The History of Live Music in Britain (2013) and is currently writing a social history of the drum kit.Shara Rambarran is Assistant Professor of Music at the Bader International Study Centre, Queen’s University, Canada. She received her PhD in Music from the University of Salford, UK. Her research interests include popular musicology, postproduction, digital technology, remixology, music industry, events management, education and law (Intellectual Property Rights). She is an editor of the Journal on the Art of Record Production and co-editor of The Oxford Handbook of Music and Virtuality (2016).Phil Kirkman is Principal Lecturer at Anglia Ruskin University. He was previously Course Director for Music and for Professional Studies (PGCE) at the University of Cambridge. Before this, Phil worked for over a decade as a teacher, pastoral manager and department leader in UK secondary schools. He regularly consults and provides training for education professionals in the UK and internationally. Phil's current research interests include educational technologies, innovative pedagogy, dialogic education and practitioner research.

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• I. Introduction1. ForewordLucy Green2. Popular Music Education (R)evolutionGareth Dylan Smith, Zack Moire, Matt Brennan, Shara Rambarran & Phil Kirkman3.Popular Music Education: A Step into the LightRupert TillII. Past, present and future4. The Historical Foundations of Popular Music Education in the United StatesAndy Krikun5. Navigating the Spcae Between Spaces: Curricular Change in Popular Music Teacher Education in the United StatesDavid Williams & Clint Randles6. Developing Learning Through Producing: Secondary School Students' Experiences of a Technologically Aided Pedagogical InterventionAleksi Ojala7. A Historical Review of the Social Dynamics of School Music Education in Mainland China: A Study of the Political Power of Popular SongsWai-Chung Ho8. Towards 21st Century Music Teaching-Learning: Reflections on Student-centric Pedagogic Practices Involving Popular Music in SingaporeSiew-Ling Chua & Hui Ping Ho9. Popular Music Education in Hong Kong: A Case Study of the Baron School of MusicHei-Ting Wong10. Mediations, Institutions and Post-Compulsory Popular Music Education Seán McLaughlin11 Where to now? The Current Condition and Future Trajectory of Popular Music Studies in British UniversitiesSimon Warner12. Parallel, Series, and Integrated: Models of Tertiary Popular Music Education Gavin Carfoot, Brad Millard, Samantha Bennett & Christopher Allan III. Curricula in popular music13. Do The Stars Know Why They Shine? An Argument for Including Cultural Theory in Popular Music ProgrammesEmma Hooper14. I've Heard There Was a Secret Chord’: Do We Need to Teach Music Notation in UK Popular Music Studies? Paul Fleet15. 'Art' to Artistry: A Contemporary Approach to Vocal PedagogyDiane Hughes16. Defeating the Muse: Advanced Songwriting Pedagogy and Creative BlockJo Collinson-Scott17. Missing a Beat: Exploring Experiences, Perceptions and Reflections of Popular Electronic Musicians in UK Higher Education InstitutionsPaul Thompson & Alex Stevenson18. Artists to Teachers – Teachers to Artists: Providing a Space for Aesthetic Experience at Secondary Schools through Popular MusicAxel Schwarz & David-Emil Wickström19. Musical Listening: Teaching Studio Production in an Academic InstitutionEirik Askeroi & André Viervoll20. Popular Music and Modern Band PrinciplesBryan Powell & Scott BursteinIV. Careers, entrepreneurship and marketing21. Professional Songwriting: Creativity, the Creative Process, and Tensions Between Higher Education Songwriting and Industry Practice in the UKMatt Gooderson & Jennie Henley22. Popular Music Pedagogy: Dual Perspectives on DIY MusicianshipDon Lebler & Naomi Hodges23. Towards a Framework for Creativity in Popular Music DegreesJoe Bennett24. Re-Mixing Popular Music Marketing EducationRay Sylvester & Daragh O'Reilly25. University Music Education in Colombia: The Multidimensionality of Teaching and TrainingLuz Rivas Caicedo26. Popular Music Entrepreneurship in Higher Education: Facilitating Group Creativity and Spin-off Formation Through Internship ProgrammesGuy Morrow, Emily Gilfillan, Iqbal Barkat & Phyllis Sakinofsky27. Teaching Music Industry in Challenging Times: Addressing the Neoliberal Employability Agenda in Higher Education at a Time of Music-Industrial TurbulenceMichael JonesV. Social and critical issues28. Popular Music Meta-Pedagogy in Music Teacher EducationIan Axtell, Martin Fautley & Kelly Davey Nicklin29. A Place in the Band: Negotiating Barriers to Inclusion in a Rock Band SettingJesse Rathgeber30. Teaching the Devil’s Music: Some Intersections of Popular Music, Education and Morality in a Faith School SettingTom Parkinson31. Social Justice and Popular Music: Building a Generation of Artists Impacting Social Change.Sheila Woodward32. Popular Music and (R)evolution of the Classroom Space: Occupy Wall Street in the Music SchoolNasim Niknafs & Liz Przybylski33. Popular Music Education, Participation and Democracy: Some Nordic Perspectives Catharina Christophersen & Anna Karin Gullberg34. Feral Pop: The Participatory Power of Improvised Popular MusicCharlie Bramley & Gareht Dylan Smith35. Epistemological and Sociological Issues in Popular Music Eduation David G. Hebert, Joseph A. Abramo & Gareth Dylan Smith