Commercial and Popular Music in Higher Education

<p><em>Commercial and Popular Music in Higher Education</em> brings together working examples of pedagogy in emerging areas of popular and commercial music to offer practical insights and provide a theoretical framework for today’s music educators. Written by a diverse group of experts, the eight chapters address a range of contemporary contexts, including digital instrument ensembles, digital audio workstations, hip hop courses, pop vocal performance, rock bands, studio production, and more.</p><p>Considering both the challenges and the benefits of integrating commercial and popular music into teaching, the contributors explore how doing so can enhance student learning. The authors show how a constructivist approach to music pedagogy enables student-led, real-world learning in higher education, and consider how diversity, equity, and inclusion intersect with teaching popular music performance. Compiling experiences and expert resources, this book provides a vital framework for all instructors teaching commercial and popular music.</p> <p><strong>Introduction:</strong> Commercial and Popular Music in Higher Education <em>(Jonathan R. Kladder)</em> / <strong>Chapter 1: </strong>Constructivism: An Epistemology for Commercial and Popular Music in Higher Education <em>(Jonathan R. Kladder and Jazzmone Sutton)</em> / <strong>Chapter 2: </strong>From Tin Pan Alley to Trending: Remixing Ragtime and South Asian Popular Music with Digital Audio Workstations <em>(Adam Patrick Bell and Oshadhee Satarasinghe)</em> / <strong>Chapter 3:</strong> The Electronic Digital Instrument: What Does it Mean to Develop Musical Skill with a Computer? <em>(Michael Bierylo)</em> / <strong>Chapter 4: </strong>Behind the Music: Digital Music Instrument Ensembles <em>(David A. Williams)</em> / <strong>Chapter 5: </strong>The Popular Music Vocal Studio: Considerations for Creating an Effective Curriculum <em>(Kat Reinhert)</em> / <strong>Chapter 6: </strong>You Want to Play John Mayer?: Considering Rock Bands as Learner-Centered Music Making in Higher Education <em>(Jonathan R. Kladder)</em> / <strong>Chapter 7: </strong>Have No Fear, Hip Hop Is Here!: Creating Place and Space for Hip Hop in Higher Education <em>(Thomas E. Taylor, Jr.)</em> / <strong>Chapter 8: </strong>A Way Forward: Implications and Suggestions for Emerging Music Teacher Educators <em>(Radio Cremata)</em></p>