Musical Gentrification is an exploration of the role of popular music in processes of socio-cultural inclusion and exclusion in a variety of contexts. Twelve chapters by international scholars reveal how cultural objects of relatively lower status, in this case popular musics, are made objects of acquisition by subjects or institutions of higher social status, thereby playing an important role in social elevation, mobility and distinction. The phenomenon of musical gentrification is approached from a variety of angles: theoretically, methodologically and with reference to a number of key issues in popular music, from class, gender and ethnicity to cultural consumption, activism, hegemony and musical agency. Drawing on a wide range of case studies, empirical examples and ethnographic data, this is a valuable study for scholars and researchers of Music Education, Ethnomusicology, Cultural Studies and Cultural Sociology. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book forms a basis and a starting point for a closer dialogue between musicologists, anthropologists and psychologists to achieve a better understanding of the cultural psychology of musical experience. This is done by arranging a meeting point or an arena in which different aspects of psychology and musicology touch and encounters each other due to how the two fields might be defined today. In line with this the book consists of a group of scholars that have their feet solidly grounded in psychology, social science or musicology, but at the same time have a certain interest in uniting them. On this basis it is divided into five parts, which investigates musical sensations, musical experiences, musical transformations, musical fundamentals and the notion of a cultural psychology of music. Thus another aim of this book is to prepare the basis for a further growth of a cultural psychology that is able to include the experiences of music as a basis for understanding the ordinary human life. Thus this book should be of interest for those who want to investigate the mysterious intersection between music and psychology. ENDORSEMENTS "Near a century ago, Alfred North Whitehead, a philosopher sensitive to the natural vitality of human intelligence, warned against the restriction of awareness by ‘products of logical discernment’. This book makes a bold and much needed effort to recover an appreciation of the creative agency in music of all kinds, which supports mastery of all domains of cultural intelligence, including language, and ‘artificial intelligence’. We need to replace a rational psychology of musical form with appreciation of impulses of ‘musicality’ in the life of every human society. From birth, and before, a human mind is eager to share the rhythms and tones of awareness-with-feeling in body movement, elaborated in song, instrumental performance or dance. The scholastic disciplines of psychology, anthropology, musicology and ethnomusicology, separated by artificial conventions, need to recover this common ground by 'a project that aims at assembling disciplines that have been separated and developed individually for almost hundred years ... to achieve a better understanding of the cultural psychology of musical experience.' This collection of papers boldly meets this challenge, with skillful respect for the complicated history of our understanding." Colwyn Trevarthen Professor (Emeritus) of Child Psychology and Psychobiology, School of Philosophy, Psychology and Language Sciences, The University of Edinburgh "This book is an important marker in the next wave of interdisciplinary socio-musical study. Culture, individual experience, and social forces converge here and are addressed, and sometimes redressed, through musical means. Bravo!" Tia DeNora Professor, Sociology, Philosophy & Anthropology (SPA) Exeter University EX4 4RJ, UK "Klempe has crafted a fascinating collection of discussions that is accessible and inspiring. Both students and experts will find this book invaluable." Fathali Moghaddam, Professor of Psychology Director of the Interdisciplinary Program in Cognitive Science, Georgetown University

A contribution to the field of urban music studies, this book presents new interdisciplinary approaches to the study of music in urban social life. It takes musical performance as its key focus, exploring how and why different kinds of performance are evolving in contemporary cities in the interaction among social groups, commercial entrepreneurs, and institutions. From conventional concerts in rock clubs to new genres such as the flash mob, the forms and meanings of musical performance are deeply affected by urban social change and at the same time respond to the changing conditions. Music has taken on complex roles in the post-industrial city where culture and cultural consumption have an unprecedented power in defining publics, policies, and marketing strategies. Further, changes in real estate markets and the penetration of new media have challenged even fairly modern music cultures. At the same time, new music cultures have emerged, and music has become a driver for cultural events and festivals, channeling the dynamics of a society characterized by the social change, media intensity, and the neoliberal forces of post-industrial urban contexts. The volume brings together scholars from a broad range of disciplines to build a shared understanding of post-industrial contexts in Europe and the United States. Most directly grounded in contemporary developments in music studies and urban studies, its broad interdisciplinary range serves to strengthen the relevance of urban music studies to fields such as anthropology, sociology, urban geography, and beyond. Offering in-depth studies of changing music culture in concert venues, cultural events, and neighborhoods, contributors visit diverse locations such as Barcelona, Berlin, London, New York, and Austin.

The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined. In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.

The volume explores the various intersections and interconnections of the self and popular music in fiction; it examines questions of musical taste and identity construction across decades, spaces, social groups, and cultural contexts, covering a wide range of literary and musical genres.

Neil V. Rosenberg met the legendary Bill Monroe at the Brown County Jamboree. Rosenberg's subsequent experiences in Bean Blossom put his feet on the intertwined musical and scholarly paths that made him a preeminent scholar of bluegrass music. Rosenberg's memoir shines a light on the changing bluegrass scene of the early 1960s. Already a fan and aspiring musician, his appetite for banjo music quickly put him on the Jamboree stage. Rosenberg eventually played with Monroe and spent four months managing the Jamboree. Those heights gave him an eyewitness view of nothing less than bluegrass's emergence from the shadow of country music into its own distinct art form. As the likes of Bill Keith and Del McCoury played, Rosenberg watched Monroe begin to share a personal link to the music that tied audiences to its history and his life--and helped turn him into bluegrass's foundational figure. An intimate look at a transformative time, Bluegrass Generation tells the inside story of how an American musical tradition came to be.

The Sage Handbook of School Music Education stands as an essential guide for navigating the evolving educational landscape in the wake of the 2008 financial crisis and the transformative impact of the COVID-19 pandemic. The handbook addresses philosophical foundations, social justice challenges, the envisioning of a transformative curriculum, and critical issues in music teacher education. Written by a diverse team of leading scholars, this handbook offers a truly global perspective with contributors from Africa, Asia, Australasia, Europe, and North and South America. The handbook engages with the profound interplay of economic, political, and social forces that shape educational policies. Scholars within this collaborative work delve into what it means to educate in a world undergoing significant changes. This entails an exploration of emerging educational approaches, considerations for societal implications, and the interconnectedness of school music education with broader curricular and global contexts. As a cohesive resource, The Sage Handbook of School Music Education not only addresses the challenges faced by educators but also envisions the transformative potential of music education in fostering creativity, inclusivity, and adaptability. This handbook serves as a compass for students, practitioners and scholars in the field, and all those passionate about navigating the complexities of redefining music education for a new era. Part 1: Foundations Part 2: Struggling for Social Justice Through Music Education Part 3: Curriculum Development Part 4: Teacher Education

The Routledge Handbook to Sociology of Music Education is a comprehensive, authoritative and state-of-the-art review of current research in the field. The opening introduction orients the reader to the field, highlights recent developments, and draws together concepts and research methods to be covered. The chapters that follow are written by respected, experienced experts on key issues in their area of specialisation. From separate beginnings in the United States, Europe, and the United Kingdom in the mid-twentieth century, the field of the sociology of music education has and continues to experience rapid and global development. It could be argued that this Handbook marks its coming of age. The Handbook is dedicated to the exclusive and explicit application of sociological constructs and theories to issues such as globalisation, immigration, post-colonialism, inter-generational musicking, socialisation, inclusion, exclusion, hegemony, symbolic violence, and popular culture. Contexts range from formal compulsory schooling to non-formal communal environments to informal music making and listening. The Handbook is aimed at graduate students, researchers and professionals, but will also be a useful text for undergraduate students in music, education, and cultural studies.

This book is a collection of leading international authors in the field of music education taking the concept of 'craft' as a starting point to deconstruct and reconstruct their understanding of the practices and theories of music education. Their insights draw from deep wells of resources located in historical, philosophical, epistemological, musicological and educational traditions that lead to rich and complex insights on the evolving field of music education. In so doing, they generate a constellation of new understandings and illustrations of what crafts can mean in this field. Historically, the idea of craft was typically associated with a skill or experience in knowing how to do or make something, or an activity of some kind that requires specific professional skills. In Old Norse, the concept for craft was kraptr, meaning strength and virtue, while Old English and continental use was associated with power and physical strength, as well as skill. When these definitions of ‘crafts’ are infused into contemporary understandings of the field of music education as a professional field, a whole new set of possible interpretations are unearthed. Such insights are not exhaustive, but rather, point the way in which this professional, diverse, inclusive and ambiguous field might continue to evolve in the 21st century.

The Oxford Handbook of Music Making and Leisure presents myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. Looking beyond the obvious, this handbook asks readers to consider anew, "What might we see when we think of music making as leisure?"