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Popular music is a growing presence in education, formal and
otherwise, from primary school to postgraduate study. Programmes,
courses and modules in popular music studies, popular music
performance, songwriting and areas of music technology are becoming
commonplace across higher education. Additionally, specialist
pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity
Rock and Pop, have emerged in recent years, meaning that it is now
possible for school leavers in some countries to meet university
entry requirements having studied only popular music. In the
context of teacher education, classroom teachers and
music-specialists alike are becoming increasingly empowered to
introduce popular music into their classrooms. At present, research
in Popular Music Education lies at the fringes of the fields of
music education, ethnomusicology, community music, cultural studies
and popular music studies. The Ashgate Research Companion to
Popular Music Education is the first book-length publication that
brings together a diverse range of scholarship in this emerging
field. Perspectives include the historical, sociological,
pedagogical, musicological, axiological, reflexive, critical,
philosophical and ideological.
Popular music is a growing presence in education, formal and
otherwise, from primary school to postgraduate study. Programmes,
courses and modules in popular music studies, popular music
performance, songwriting and areas of music technology are becoming
commonplace across higher education. Additionally, specialist
pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity
Rock and Pop, have emerged in recent years, meaning that it is now
possible for school leavers in some countries to meet university
entry requirements having studied only popular music. In the
context of teacher education, classroom teachers and
music-specialists alike are becoming increasingly empowered to
introduce popular music into their classrooms. At present, research
in Popular Music Education lies at the fringes of the fields of
music education, ethnomusicology, community music, cultural studies
and popular music studies. The Routledge Research Companion to
Popular Music Education is the first book-length publication that
brings together a diverse range of scholarship in this emerging
field. Perspectives include the historical, sociological,
pedagogical, musicological, axiological, reflexive, critical,
philosophical and ideological.
Virtuality has entered our lives making anything we desire
possible. We are, as Gorillaz once sang, in an exciting age where
‘the digital won’t let [us] go…’ Technology has
revolutionized music, especially in the 21st century where the
traditional rules and conventions of music creation, consumption,
distribution, promotion, and performance have been erased and
substituted with unthinkable and exciting methods in which
absolutely anyone can explore, enjoy, and participate in creating
and listening to music. Virtual Music explores the interactive
relationship of sound, music, and image, and its users
(creators/musicians/performers/audience/consumers). Areas involving
the historical, technological, and creative practices of virtual
music are surveyed including its connection with creators,
musicians, performers, audience, and consumers. Shara Rambarran
looks at the fascination and innovations surrounding virtual music,
and illustrates key artists (such as Grace Jones, The Weeknd),
creators (such as King Tubby, Kraftwerk, MadVillain, Danger Mouse),
audiovisuals in video games and performances (such as Cuphead and
Gorillaz), audiences, and consumers that contribute in making this
musical experience a phenomenon. Whether it is interrogating the
(un)realness of performers, modified identities of artists,
technological manipulation of the Internet, music industry and
music production, or accessible opportunities in creativity, the
book offers a fresh understanding of virtual music and appeals to
readers who have an interest in this digital revolution.
The diva – a central figure in the landscape of contemporary
popular culture: gossip-generating, scandal-courting,
paparazzi-stalked. And yet the diva is at the epicentre of creative
endeavours that resonate with contemporary feminist ideas, kick
back against diminished social expectations, boldly call-out casual
sexism and industry misogyny and, in terms of hip-hop, explores
intersectional oppressions and unapologetically celebrates
non-white cultural heritages. Diva beats and grooves echo across
culture and politics in the West: from the borough to the White
House, from arena concerts to nightclubs, from social media to
social activism, from #MeToo to Black Lives Matter. Diva: Feminism
and Fierceness from Pop to Hip-Hop addresses the diva phenomenon
and its origins: its identity politics and LGBTQ+ components; its
creativity and interventions in areas of popular culture (music,
and beyond); its saints and sinners and controversies old and new;
and its oppositions to, and recuperations by, the establishment;
and its shifts from third to fourth waves of feminism. This
co-edited collection brings together an international array of
writers – from new voices to established names. The collection
scopes the rise to power of the diva (looking to Mariah Carey,
Whitney Houston, Dolly Parton, Grace Jones, and Aaliyah), then
turns to contemporary diva figures and their work (with Beyoncé,
Amuro Namie, Janelle Monáe, Cardi B, Megan Thee Stallion, Shakira,
Jennifer Lopez, and Nicki Minaj), and concludes by considering the
presence of the diva in wider cultures, in terms of gallery
curation, theatre productions, and stand-up comedy.
Virtuality has entered our lives making anything we desire
possible. We are, as Gorillaz once sang, in an exciting age where
‘the digital won’t let [us] go…’ Technology has
revolutionized music, especially in the 21st century where the
traditional rules and conventions of music creation, consumption,
distribution, promotion, and performance have been erased and
substituted with unthinkable and exciting methods in which
absolutely anyone can explore, enjoy, and participate in creating
and listening to music. Virtual Music explores the interactive
relationship of sound, music, and image, and its users
(creators/musicians/performers/audience/consumers). Areas involving
the historical, technological, and creative practices of virtual
music are surveyed including its connection with creators,
musicians, performers, audience, and consumers. Shara Rambarran
looks at the fascination and innovations surrounding virtual music,
and illustrates key artists (such as Grace Jones, The Weeknd),
creators (such as King Tubby, Kraftwerk, MadVillain, Danger Mouse),
audiovisuals in video games and performances (such as Cuphead and
Gorillaz), audiences, and consumers that contribute in making this
musical experience a phenomenon. Whether it is interrogating the
(un)realness of performers, modified identities of artists,
technological manipulation of the Internet, music industry and
music production, or accessible opportunities in creativity, the
book offers a fresh understanding of virtual music and appeals to
readers who have an interest in this digital revolution.
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