The Bloomsbury Handbook of Popular Music Educationdraws together current thinking and practice on popular music education from empirical, ethnographic, sociological and philosophical perspectives. Through a series of unique chapters from authors working at the forefront of music education, this book explores the ways in which an international group of music educators each approach popular music education. Chapters discuss pedagogies from across the spectrum of formal to informal learning, including "outside" and "other" perspectives that provide insight into the myriad ways in which popular music education is developed and implemented. The book is organized into the following sections: - Conceptualizing Popular Music Education - Musical, Creative and Professional Development - Originating Popular Music - Popular Music Education in Schools - Identity, Meaning and Value in Popular Music Education - Formal Education, Creativities and Assessment Contributions from academics, teachers, and practitioners make this an innovative and exciting volume for students, teachers, researchers and professors in popular music studies and music education.

Outside of his native France, Serge Gainsbourg has been portrayed as the one-hit wonder lothario of Je t'aime... or a washed-up self-parody drunkenly uttering obscenities on talk-shows. These hopelessly restrictive views are increasingly being replaced by an awareness of how visionary a musician and lyricist he was. Reassessing his legacy, it's clear that Gainsbourg was an eclectic, protean figure; a Dadaist, poete maudit, Pop-Artist, composer, holy fool, libertine and anti-hero. An icon and iconoclast. Here was an artist so far ahead of his time it seems we're only now catching up. Central to any appraisal of his work is arguably his masterpiece Histoire de Melody Nelson, an album suite combining many of his signature themes; sexual taboos, provocation, humour, exoticism and ultimately tragedy. The score, arranged with Jean-Claude Vannier, of lush cinematic strings and proto-hip hop beats combined with Serge's spoken-word poetry, has become remarkably influential across a wide musical spectrum inspiring soundtracks, indie groups and electronic artists.In recent years, the album's reputation has grown from cult status to that of a modern classic with the likes of Beck, Arcade Fire, Air and Pulp paying tribute. How did the son of poor Jewish immigrants, hounded during the Nazi occupation, rise to fame, notoriety and acclaim, being celebrated by President Francois Mitterand as our Baudelaire, our Apollinaire? How did the early chanson singer evolve into a musical innovator incorporating world music, samples, breakbeats and dub into his music decades ahead of the curve? And what were the roots and legacy of a concept album about a Rolls Royce, red-haired Lolita muse, otherworldly mansions, plane crashes and Cargo Cults?

Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, starting with screen adaptations of operettas such as The Desert Song and Rio Rita, and looks at how the Hollywood studios in the 1930s exploited the publication of sheet music as part of their income. Numerous chapters examine specific screen adaptations in depth, including not only favorites such as Annie and Kiss Me, Kate but also some of the lesser-known titles like Li'l Abner and Roberta and problematic adaptations such as Carousel and Paint Your Wagon. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.

#1 New York Times Bestseller A People Magazine Top Ten Book of the Year 'A sensational memoir ...brilliantly well written. Carly Simon is incapable of writing a boring sentence ...you can forgive anything for the unparalleled brilliance of her writing' - Lynn Barber, Sunday Times 'Hugely affecting memoir ...heartfelt and remarkable' - Fiona Sturges, Independent Carly Simon is a household name. She was the staple of the '70s and '80s Billboard charts and was famously married to James Taylor with whom she has two children. She has had a career that has spanned four decades, resulting in thirteen top 40 hits, including the Number 1 song 'You're So Vain', numerous Grammy Awards, a Golden Globe and an Academy Award. She was the first artist in history to win a Grammy Award, an Academy Award and a Golden Globe Award for her song 'Let the River Run' (from the film Working Girl). Boys in the Trees is a rhapsodic, beautifully composed memoir of a young woman's coming of age amongst the glamorous literati and intelligentsia of Manhattan (her father was Richard Simon, co-founder of publishing giant Simon & Schuster), a reflection on a life begun amidst secrets and shame, and a powerful story of the strength to leave that all behind and forge a path of art, music and love in the Golden Age of folk and rock. At once an insider's look into a life in the spotlight, a lyric reflection on a particular time in our culture's history, and a beautiful memoir about the pains and joys of love and art, Boys in the Trees is the story Carly Simon has long been waiting to tell the world. Praise for the US edition: 'One of the best celebrity memoirs of the year' Hollywood Reporter 'Intelligent and captivating' People 'Compelling' Rolling Stone

"K-Pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea" seeks at once to describe and explain the emergence of export-oriented South Korean popular music and to make sense of larger South Korean economic and cultural transformations. John Lie provides not only a history of South Korean popular music--the premodern background, Japanese colonial influence, post-Liberation American impact, and recent globalization--but also a description of K-pop as a system of economic innovation and cultural production. In doing so, "K-Pop" delves into the broader background of South Korea that gave rise to K-pop in this wonderfully informed history and analysis of a pop culture phenomenon sweeping the globe.

Is there such a thing today as music that's meaningfully new? In our contemporary era of remixing and retro styles, cynics and romantics alike cry "It's all been done before" while record labels and media outlets proclaim that everything is new. Coded into our daily conversations about popular music, newness as an artistic and cultural value is too often taken for granted. Nothing Has Been Done Before instigates a fresh debate about newness in American pop, rock 'n' roll, rap, folk, and R&B made since the turn of the millennium. Utilizing an interdisciplinary approach that combines music criticism, philosophy, and the literary essay, Robert Loss follows the stories of a diverse cast of musicians who seek the new by wrestling with the past, navigating the market, and speaking politically. The transgressions of Bob Dylan's "Love and Theft". The pop spectacle of Katy Perry's 2015 Super Bowl halftime show. Protest songs against the war in Iraq. Nothing Has Been Done Before argues that performance heard in a historical context always creates a possibility for newness, whether it's Kendrick Lamar's multi-layered To Pimp a Butterfly, the Afrofuturist visions of Janelle Monae, or even a Guided By Voices tribute concert in a local dive bar. Provocative and engaging, Nothing Has Been Done Before challenges nothing less than how we hear and think about popular music-its power and its potential.

Popular music artists, as performers in the public eye, offer a privileged site for the witnessing and analysis of ageing and its mediation. The Late Voice undertakes such an analysis by considering issues of time, memory, innocence and experience in modern Anglophone popular song and the use by singers and songwriters of a 'late voice'. Lateness here refers to five primary issues: chronology (the stage in an artist's career); the vocal act (the ability to convincingly portray experience); afterlife (posthumous careers made possible by recorded sound); retrospection (how voices 'look back' or anticipate looking back); and the writing of age, experience, lateness and loss into song texts. There has been recent growth in research on ageing and the experience of later stages of life, focusing on physical health, lifestyle and psychology, with work in the latter field intersecting with the field of memory studies. The Late Voice seeks to connect age, experience and lateness with particular performers and performance traditions via the identification and analysis of a late voice in singers and songwriters of mid-late twentieth century popular music.

That rare thing, an academic study of music that seeks to tie together the strands of the musical text, the industry that produces it, and the audience that gives it meaning... A vital read for anyone interested in the changing nature of popular music production and consumption" - Dr Nathan Wiseman-Trowse, The University of Northampton Popular music entertains, inspires and even empowers, but where did it come from, how is it made, what does it mean, and how does it eventually reach our ears? Tim Wall guides students through the many ways we can analyse music and the music industries, highlighting crucial skills and useful research tips.

Taking into account recent changes and developments in the industry, this book outlines the key concepts, offers fresh perspectives and encourages readers to reflect on their own work. Written with clarity, flair and enthusiasm, it covers:

Histories of popular music, their traditions and cultural, social, economic and technical factors Industries and institutions, production, new technology, and the entertainment media Musical form, meaning and representation Audiences and consumption.

Students' learning is consolidated through a set of insightful case studies, engaging activities and helpful suggestions for further reading.

The evidence of death and dying has been removed from the everyday lives of most Westerners. Yet we constantly live with the awareness of our vulnerability as mortals. Drawing on a range of genres, bands and artists, Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Exploring bereavement, depression, suicide, violence, gore, and fans' responses to the deaths of musicians, it argues for the social and cultural significance of popular music's treatment of mortality and the apparent absurdity of existence.

Not many have managed it, but like Robbie Williams and Justin Timberlake, Zayn Malik has successfully escaped his boyband image to become a credible popstar in his own right. Zayn's debut solo single `Pillowtalk' topped the charts around the world and has had over half a billion views on YouTube. His album Mind of Mine debuted at no.1 in both the UK and US charts, proving that he's on his way to becoming as colossal as the band he left behind. Not only have the Directioners remained as loyal as ever, but his fanbase has also grown as he has developed his more mature, R&B sound. With almost 20m Twitter followers, he's certainly lost none of his popularity. Zayn's life remains of huge interest to his fans and gossip-followers worldwide, whether for his hairstyles, comments about his former bandmates or his relationship with American supermodel Gigi Hadid. In this completely updated title, bestselling celebrity biographer Sarah Oliver charts Zayn's incredible journey from Bradford to Los Angeles and all that's happened in between.

Joe Longthorne is one of the UK's leading live entertainers, and an icon of his era. In the golden days of Joe's career, he was one of television's highest paid performers, attracting audiences of over 12 million courtesy of his amazing voice and impressions of singers such as Shirley Bassey, Tom Jones and Frank Sinatra. He has countless gold and platinum albums to his name, has appeared on the Royal Variety Show and sells out iconic venues the world over, including the Palladium, Royal Albert Hall, Sydney Opera House and Drury Lane Chicago. However, tragedy and trauma have haunted the Hull-born singer and he tells his life story in his own words in this wonderful book. From his childhood in the travelling community and singing on the streets for money to the colourful rock and roll lifestyle of sex, drugs, bankruptcy, court appearances and the bizarre, hilarious stories which worldwide touring produces. But Joe's toughest times have been found in his repeated battles with cancer, having fought off the illness multiple times over the last three decades, most recently in the summer of 2014 when Joe beat throat cancer - and began singing again hours after his life-saving operation!This is the true story of one of Britain's most iconic entertainers, a man who has never flinched from doing what he was born for - performing. In a book which for critics and fans have been united in praise, Joe Longthorne lays bare his incredible life in this, his official autobiography.

During the Great War, composers and performers created music that expressed common sentiments like patriotism, grief, and anxiety. Yet music also revealed the complexities of the partnership between France, Great Britain, Canada, and the United States. At times, music reaffirmed a commitment to the shared wartime mission. At other times, it reflected conflicting views about the war from one nation to another or within a single nation.Over Here, Over There examines how composition, performance, publication, recording, censorship, and policy shaped the Atlantic allies' musical response to the war. The first section of the collection offers studies of individuals. The second concentrates on communities, whether local, transnational, or on the spectrum in-between. Essay topics range from the sinking of the Lusitania through transformations of the entertainment industry to the influenza pandemic.Contributors: Christina Bashford, William Brooks, Deniz Ertan, Barbara L. Kelly, Kendra Preston Leonard, Gayle Magee, Jeffrey Magee, Michelle Meinhart, Brian C. Thompson, and Patrick Warfield

The essay collection Rhythm Revolution provides a compact but detailed analysis of significant genres, artists, and trends characterizing popular music's evolution after the emergence of rock & roll. It addresses the creative, economic, social, and political contexts of key creative and commercial transitions in the recording industry. Primarily focused on events between the 1960s and 1980s, the book's chronological structure highlights interconnected histories of the pop, rock, soul, funk, jazz/rock fusion, reggae, and punk rock genres that were major features of the American musical soundscape. The text also discusses the expanding role of televised music in its chapter on the 1980s. In addition, the anthology provides a wealth of detail on topics not typically covered, including the history of the album cover, the roots of reggae, and the formation and impact of significant record labels. Rhythm Revolution is ideal for teachers who want to engage their students in a detailed examination of pivotal eras. It can be used as a stand-alone text, or as a supplemental reader to standard textbooks on popular music history.

A teen idol of the 1950s who virtually invented the singer/songwriter/heartthrob combination that still tops pop music today, Paul Anka rocketed to fame with a slew of hits--from "Diana" to "Put Your Head on my Shoulder"--that earned him a place touring with the major stars of his era, including Chuck Berry, Jerry Lee Lewis, and Buddy Holly. He wrote Holly's last hit, and just missed joining the rocker on his final, fatal plane flight. Anka also stepped in front of the camera in the teen beach-party movie era, scoring the movies and romancing their starlets, including Annette Funicello.

When the British invasion made his fans swoon for a new style of music--and musician--Anka made sure he wasn't conquered. A rapier-canny businessman and image-builder who took his career into his own hands--just as he had from the very beginning, swiping his mother's car at fourteen to drive himself, underage, to his first gigs in Quebec--Anka toured the world until he could return home in triumph. A charter member of the Rat Pack, he wrote the theme music for "The Tonight Show" as well as his friend Frank Sinatra's anthem "My Way." By the 1970s, a multi-decade string of pop chart-toppers, including "Puppy Love" and "(You're) Having My Baby," cemented his status as an icon.

"My Way" is bursting with rich, rollicking stories of the business and the people in Anka's life: Elizabeth Taylor, Dodi Fayed, Tom Jones, Michael Jackson, Adnan Khashoggi, Little Richard, Brooke Shields, Johnny Roselli, Sammy Davis, Jr., Brigitte Bardot, Barnum & Bailey Circus acrobats, and many more. Anka is forthcoming, funny and smart as a whip about the business he's been in for almost six decades. "My Way" moves from New York to Vegas, from the casino stage to backstages all over the world. It's the most entertaining autobiography of the year.

"In the Groove: Form and Function in Popular Music" gives students a clear, concise, accessible introduction to popular music, and the features of popular songs.
Students begin by learning the musical terms and concepts they will use throughout the text to better understand the structures and musicality of various pieces of music. Boxed hints help students with pronunciation, and show how specific terms are applied in specific songs. Boxed warnings minimize confusion between similar terms and concepts, and educate students about common mistakes.
The chapters that follow discuss musical forms, advanced features of songs, and rhythm and meter. The book helps students discover new ways to engage with and think about music they already know and love. It also introduces them to music that is less familiar to them. Reading through the material makes it possible for students to approach all music from a more knowledgeable perspective. A song analysis template is included so students can apply what they have learned.
"In the Groove" includes diverse musical material that reflects different pop traditions from a variety of eras. The book is an excellent supplemental text for classes in popular music, music history, and music appreciation.
Mark Elliot Bergman serves on the faculty of George Mason University in Fairfax, Virginia. In addition to his work in education, he is a bassist, composer and author. Professor Bergman is a member of the Fairfax Symphony Orchestra, the Alexandria Symphony Orchestra, and the Britt Festival Orchestra. In 2006 he founded the award-winning string trio Virginia Virtuosi. Fairfax Connections credit the ensemble with turning classical music cool. In 2011 Professor Bergman received the William Strauss Fellowship from the Arts Council of Fairfax County in recognition of his work as a composer. His previous writing about popular music has been published by Oxford University Press.

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The Biographical Dictionary of Popular Music" is an incredible and opinionated collection of celebrated cultural critic Dylan Jones's thoughts on more than 350 of the most important artists around the world--alive and dead, big and small, at length and in brief. This A to Z reference is the true musical heir to David Thomson's seminal "The New Biographical Dictionary of Popular Film." Jones writes entertainingly about bands that have inspired, bedeviled, and fascinated him over the years.

Vic Damone is one of the enduring legends of American pop music. His early days were spent as an usher who longed to take the stage at New York City's legendary Paramount Theater. On August 30, 1947, he got his wish when his first hit "I Have But One Heart" reached #7 on the Billboard Chart. Befriended by Frank Sinatra and encouraged by legends like Perry Como and Tommy Dorsey, Damone had one of the greatest voices ever recorded covering such Lerner and Loewe classics as "On the Street Where You Live" and "Gigi" while making other numbers, like "You Do," his own.

In "Singing Was the Easy Part," Damone tells the whole story of his life - and what a life it's been A mob boss tried to throw him out the window of the Edison Hotel in New York City when he broke off an engagement to the boss's daughter. He was married to a string of glamorous women including the beautiful Anna Pierangeli and the tempestuous Diahann Carroll. When he got to Hollywood, Judy Garland gave him his first screen test, he got drunk for the first time with Ava Gardner at Chasens and he went golfing regularly with George Burns and Jack Benny. Oh yeah, there's also the story about how he took a nude chorus girl into the steam room of the Sands Hotel where Sinatra, Sammy Davis Jr. and Dean Martin were relaxing between shows. All that - and much more - makes "Singing Was the Easy Part" a rollicking star-studded memoir from the great Vic Damone.

Freedom Girls: Voicing Femininity in 1960s British Pop shows how the vocal performances of girl singers in 1960s Britain defined-and sometimes defied-ideas about what it meant to be a young woman in the 1960s British pop music scene. The singing and expressive voices of Sandie Shaw, Cilla Black, Millie Small, Dusty Springfield, Lulu, Marianne Faithfull, and P.P. Arnold, reveal how vocal sound shapes access to social mobility, and consequently, access to power and musical authority. The book examines how Sandie Shaw and Cilla Black's ordinary girl personas were tied to whiteness and, in Black's case, her Liverpool origins. It shows how Dusty Springfield and Jamaican singer Millie Small engaged with the transatlantic sounds of soul and and ska, respectively, transforming ideas about musical genre, race, and gender. It reveals how attitudes about sexuality and youth in rock culture shaped the vocal performances of Lulu and Marianne Faithfull, and how P.P. Arnold has re-narrated rock history to center Black women's vocality. Freedom Girls draws on a broad array of archival sources, including music magazines, fashion and entertainment magazines produced for young women, biographies and interviews, audience research reports, and others to inform analysis of musical recordings (including such songs as "As Tears Go By," "Son of a Preacher Man," and others) and performances on television programs such as Ready Steady Go!, Shindig, and other 1960s music shows. These performances reveal the historical and contemporary connections between voice, social mobility, and musical authority, and demonstrate how singers used voice to navigate the boundaries of race, class, and gender.

Evoking the pleasures of music as well as food, the word sabor signifies a rich essence that makes our mouths water or makes our bodies want to move. American Sabor traces the substantial musical contributions of Latinas and Latinos in American popular music between World War II and the present in five vibrant centers of Latin@ musical production: New York, Los Angeles, San Antonio, San Francisco, and Miami. From Tito Puente's mambo dance rhythms to the Spanglish rap of Mellow Man Ace, American Sabor focuses on musical styles that have developed largely in the United States-including jazz, rhythm and blues, rock, punk, hip hop, country, Tejano, and salsa-but also shows the many ways in which Latin@ musicians and styles connect US culture to the culture of the broader Americas. With side-by-side Spanish and English text, authors Marisol Berrios-Miranda, Shannon Dudley, and Michelle Habell-Pallan challenge the white and black racial framework that structures most narratives of popular music in the United States. They present the regional histories of Latin@ communities-including Chicanos, Tejanos, and Puerto Ricans-in distinctive detail, and highlight the shared experiences of immigration/migration, racial boundary crossing, contesting gender roles, youth innovation, and articulating an American experience through music. In celebrating the musical contributions of Latinos and Latinas, American Sabor illuminates a cultural legacy that enriches us all.

Best known as the composer (with lyricist Hal David) of such hits as Dionne Warwick's "Walk on By", Dusty Springfield's "The Look of Love" and the Carpenters' "Close to You", Burt Bacharach wrote the music for over 700 published songs, which have been recorded by some 2000 artists - from Frank Sinatra and Elvis Presley to the Beatles and the Supremes. This book offers a cheeky song-by-song journey through Bacharach's vast recorded oeuvre, from Nat "King" Cole's little-known 1952 version of "Once in a Blue Moon" to Burt's recent collaborations with Elvis Costello, Lyle Lovett and Chicago.

Travel the world exploring the cities that have influenced dance music and DJ culture and discovering the cutting-edge scenes taking club culture in new directions. Featuring incredible photography, insider recommendations, and some of the biggest names in dance music, Destination Dancefloor reveals how DJ culture swept the globe and 40 cities where you can immerse yourself in the best electronic music culture has to offer. Whether you want to know more about the start of house music in Chicago, the club that started Berlin on the road to becoming the global epicentre of club culture, the French Touch scene in Paris that influenced the early years of Daft Punk, why Ibiza became the world's summer party destination of choice, or are looking for new destinations to add to your own clubbing bucket list, this unique book leans on Mixmag's position and expertise as one of the foremost names in club culture to present an overview of global dance music, making it a must-read for all clubbers, past, present, and future. See you on the dancefloor.

Through in-depth case studies, Religion and Popular Music explores encounters between music, fans and religion. The book examines several popular music artists - including Bob Dylan, Prince and Katy Perry - and looks at the way religion comes into play in their work and personas. Genres explored by contributing authors include country, folk, rock, metal and Electronic Dance Music. Case studies in the book originate from a variety of geographic and cultural contexts, focusing on topics such as nationalism and hard rock in Russia, fan culture in Argentina, and punk and Islam in Indonesia. Chapters engage with the central issue of how global music meets local audiences and practices, and considers how fans as well as religious groups react to the uses of religion in popular music. It also looks at how they make these interactions between popular music and religion components in their own identity, community and practice. Tapping into a vital and lively topic of teaching, research and wider cultural interest, and employing diverse methodologies across musicians, fans and religious groups, this book is an important contribution to the growing field of religion and popular music studies.

The Relentless Pursuit of Tone: Timbre in Popular Music assembles a broad spectrum of contemporary perspectives on how "sound" functions in an equally wide array of popular music. Ranging from the twang of country banjoes and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume bridges the gap between timbre, our name for the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. Essays engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. "Genre" asks how sonic signatures define musical identities and publics; "Voice" considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; "Instrument" tells stories of the way some iconic pop music machines-guitars, strings, synthesizers-got (or lost) their distinctive sounds; "Production" then puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons? rockist authenticity? empty space?) and what it all might mean.