Mike Dines is a British musician, writer, scholar and publisher. As co-founder, and chair, of the Punk Scholars Network, Mike has published widely in the field of punk (specifically the sub-genre Krishnacore), subcultures (specifically the new age traveller movement), popular music and spirituality.Shara Rambarran, author of Virtual Music: Sound, Music, and Image in the Digital Era,  is a musicologist and senior lecturer in music, business and media at the University of Brighton, UK. Her research interests include music innovation, virtuality/digital cultures, technology, remixology, music production, audio-visual aesthetics, music/creative industries, music education and law. She is the co-editor of The Oxford Handbook of Music and Virtuality, The Routledge Research Companion to Popular Music Education, and DIVA: Feminism and Fierceness from Pop to Hip-Hop and is involved with the Art of Record Production conferences and journal. Shara is also the musicologist for Spotify’s award-winning Decode music podcast.Gareth Dylan Smith is assistant professor of music and music education at Boston University. His first love is to play drums, and his writing and research interests include drumming, punk pedagogy, popular music education and the sociology of music education.

• ForewordDerek B. ScottAcknowledgements Introduction: Mapping the Field: Explorations in the Study of Popular Music Shara Rambarran, Mike Dines and Gareth Dylan Smith PART ONE: FOUNDATIONAL APPROACHES TOWARDS A MUSICOLOGY OF POPULAR MUSIC1. Critical Popular Music Studies: Interrogating the Methodological Meanings and Discursive Politics of ‘Critical’ and ‘Popular’Runchao Liu and Jessica A. Schwartz2. Methods for the Twenty-First Century: Artistic Research as a New Research Paradigm in Popular Music StudiesMichael Kahr and Wolf-Georg Zaddach3. Theorizing Aesthetics in a Practical MusicologySimon Zagorski-Thomas4. Biographical Method and Interview as Techniques in Brazilian Communication and Music StudiesCaroline Govari and Adriana Amaral5. Beyond Popular Song: Analysing Persona–Environment Relationships in Contemporary Musical TheatreNick Braae6. The Cultural Imagination and Its Role in Researching Popular MusicEleftherios Zenerian7. Semiotics as a Mode of Popular Music Analysis and InterpretationBrian Andrew Inglis8. Form and Function: Deconstructing Music GraphicsRuss Bestley PART TWO: BACK TO THE FUTURE: ARTEFACTS, ARCHAEOLOGY, ARCHIVE AND HERITAGE9. Do-It-Together: Punk Methodologies for Researching the Heritage of Popular MusicSarah Baker, Zelmarie Cantillon, Jennifer Chubb, Paul Graves-Brown, Suzy Harrison, Brett Lashua, Liam Maloney, Jack McNeill, Raphaël Nowak, Hilary Orange, Yorgos Paschos, John Schofield and Aleen Stanton10. Records, Subjects and Agents: Exploring Archives of Popular Music through Critical Archival StudiesKirsty Fife11. Issues in US Forensic Musicological Analysis of Popular MusicDana DeVlieger12. The Cover–Version Spectrum: Reframing the Relationship between Imitation and Transformation in Pop-Punk Cover-VersionsRob Upton13. Digging in the Takes: Using Archaeological Approaches to Study Popular Music HistoryPaul Thompson and Barkley McKay14. Focused Musical Artefact AnalysisCarsten Wernicke and Michael Ahlers PART THREE: EXPLORING ETHNOGRAPHIC APPROACHES IN POPULAR MUSIC STUDIES15. Adele Clarke’s Situational Analysis and Its Potential for Popular Music StudiesDaniel Suer and Florian Heesch16. Cosmopolitan Hubs: Glocalization and Non-Native CultureBrokers in the Globalization of Popular Music CulturesTenley Martin17. Art Gallery Drum Kit Solos, Spirituality and Practical MusicologyGareth Dylan Smith18. Ethnographic Methods and Ethics for Online Cultures of Popular MusicRaquel Campos Valverde19. Internet Pop Reception as Sonic Autoethnography: Circulating Music, Story and Self OnlineIain Findlay-Walsh PART FOUR: SEXUALITY, RACE AND INTERSECTIONALITY IN THE STUDY OF POPULAR MUSIC20. Is It Drag? Trans Perspectives on Queering Popular Music ResearchSadie Hochman-Ruiz21. Staying in the Field: Emotional Labour and Trauma in Popular Music EthnographyRyan J. Lambe22. Representing Power through China Wind Music: The Soft and Hard Masculinities of the NationNa Li23. The Conferralist Framework: Method and Application in Popular Music StudiesHussein Boon24. When ‘Up for It’ Is Not for Everyone: From Content Analysis to the Music Analysis of Sexualization Model (MAS-Model): An Approximation of Contemporary Music from a Decolonial LensPriscila Alvarez-Cueva PART FIVE: APPROACHES TOWARDS A POPULAR MUSIC PEDAGOGY25. Person-Centred Popular Music Education: Negotiating Gender, Community and Industry ExpectationsSini Timonen26. Popular Music Education Methodologies in the United States: An OverviewBryan Powell27. Process-Based Pedagogies for Creative Practice StudiesChris Whiting28. Reflective Piano Pedagogy: Improvisation and Composition in Classical and Contemporary RepertoiresAlethea de Villiers29. Popular Music Production: Rethinking Recording Studio LabelsPat O’Grady PART SIX: POPULAR MUSIC AND CONNECTEDNESS: RECOVERY STUDIES, MUSIC AUDIENCES AND SPIRITUALITY30. Exploring Post-Subcultural Participation through a Practice-Centred Approach: The Case of the Vaporwave (Virtual) SceneSimone Tosoni and Alessandro Ricotti31. Recovery Studies and Pop Musicology: The Twelve Steps as Lyrical, Visual and Sonic RhetoricAdam J. Goldwyn32. When Is a Music Audience? The Challenges of a Sociological Perspective of Music Audiences in the Platform AgeJo Haynes and Raphaël Nowak33. Studying Religion and Popular Music Marcus Moberg and Christopher Partridge34. In Search of Krishna: Narrative Enquiry and the Trajectory of the Spiritual in KrishnacoreMike Dines PART SEVEN: THINKING AHEAD: EMERGING METHODOLOGIES IN POPULAR MUSIC STUDIES35. Confronting Climate Change in Popular Music Texts: Nostalgia, Apocalypse, UtopiaTore Størvold36. Do Meat-Eaters Dream of Vengeful Sheep? Towards a Methodology for Animal-Oriented Music CriticismMarc Brooks37. An Ecosemiotic Approach to the Analysis of TimbreMaria Perevedentseva38. Research Methods in Live Electronic Music and Audio-Visual PerformanceKirsten Hermes39. Technology, Creativity and Pop Music Production: The Case of CantopopHon-Lun Helan Yang and Edmond Tsang Yik-Man40. Studying Playlist Cultures with Qualitative Digital Methods Alessandro Gandini and Maurizio Corbella41. Popular Music in Esports, On and Beyond the Stage Eulalia Febrer-Coll Notes on Contributors Index