(p. ix) Contributors
(p. ix) Contributors
Brydie-Leigh Bartleet is an Associate Professor and Director of the Queensland Conservatorium Research Centre and Deputy Director (Research) at the Queensland Conservatorium Griffith University, Australia. She has worked on a range of national and international projects in community music, arts-based service learning with Australian First Peoples, intercultural community arts, and arts programs in prison. Many of these projects have been realized in partnership with a wide range of NGOs, arts and community organizations, and colleagues across Australia and the Asia Pacific. She has secured over a million dollars in research funding, and produced well over a 100 research outputs. In 2014 she was awarded the Australian University Teacher of the Year. She was the Co-chair of the International Society for Music Education’s Community Music Activities Commission, Co-founder of the Asia Pacific Community Music Network, and serves on the Board of Australia’s peak music advocacy body, Music Australia.
Adam Patrick Bell is an Assistant Professor of Music Education in the School of Creative and Performing Arts at the University of Calgary. He has published in the Journal of Music, Technology and Education, Journal on the Art of Record Production, International Journal of Education and the Arts, Music Therapy Perspectives, British Journal of Music Education, and Action, Criticism, and Theory for Music Education. Currently he is writing Audio Autodidacts: A Multi-Track Story of DIY Music-Making, Home Recording, and Oblivious Learning (Oxford University Press).
Christopher Cayari is an Assistant Professor of Music Education at Purdue University in West Lafayette, Indiana. He holds a PhD and MME in Music Education from the University of Illinois at Urbana-Champaign and a bachelor’s degree in music education from Trinity Christian College in Palos Heights, Illinois. Christopher’s research interests include mediated musical performance, YouTube, informal music learning, virtual communities, and online identity. He is an avid YouTube video creator. Christopher regularly publishes online performances, tutorials, and vlogs. He enjoys collaborating with his students to make user-generated content for YouTube.
Andrea Creech is Professor of Music in Community at the University of Laval, Canada. Following an international career in music performance and teaching, Andrea was awarded a PhD in Psychology in Education from the Institute of Education, University of London. Since then she has led extensive funded research and published widely on topics concerned with musical learning and participation across the lifespan. She is a Senior Fellow of the U.K. Higher Education Academy and Graduate Member of the British (p. x) Psychological Association. Andrea is coauthor of Active Ageing with Music: Supporting Wellbeing in the Third and Fourth Ages (2014) and coeditor of Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations (2010).
Abigail D’Amore is Chief Executive of Musical Futures, a global movement that transforms, engages, and inspires people through real-world learning methods. She has worked with Musical Futures since its inception as a Paul Hamlyn Foundation special initiative in 2004, initially as research officer with Professor Lucy Green; then as national coordinator supporting the rollout; later as project leader determining Musical Futures’ strategic direction as an international grassroots movement; and manager of the transition of Musical Futures from a project to a nonprofit organization. She has consulted with various U.K.-based organizations and programs as an evaluator, project manager, writer, and editor. She has acted as a consultant for Musical Futures overseas, including delivering training, keynote presentations, and strategic support in Australia, Canada, and the United States.
Karen Fox is a Professor of Leisure Studies at the University of Alberta, Canada. Influenced by local urban Aboriginal hip-hop artists, Karen’s research shifted to questions around Indigenous epistemologies as related to expressive arts and the connection to leisure. Attending to and grounding her scholarship in the voices and aspirations of Indigenous scholars and people, she continues to question and reimagine a Western leisure attentive to Indigenous stories and practices. She has published in Leisure Studies, Musicultures, Issues in the North, Leisure/Loisir, and Leisure Sciences. She and a colleague hold a grant from the Social Sciences and Humanities Research Council of Canada to understand how Kanaka ʻŌiwi responded to U.S. missionary leisure discourses as documented in Hawaiian-language newspapers. In her leisure, she is learning the ukulele and how to blend clowning and slam poetry.
Lucy Green is Professor of Music Education at University College London Institute of Education. Her research interests are in the sociology of music education, specializing in meaning, ideology, gender, popular music, informal learning, and new pedagogies. She is the author of six books and numerous shorter works, has given keynote speeches in countries across the world, and serves on the editorial boards of fourteen journals. Lucy created the “Informal Learning” pathway within the British project Musical Futures, and then took this work forward into instrumental tuition. Her current research, with Dr. David Baker, is on the lives and learning of visually impaired musicians.
Susan Hallam studied at the Royal Academy of Music before becoming Principal Second Violin in the BBC Midland Light Orchestra and Deputy Leader of Orchestra da Camera. Following further study she became an academic. She is currently Professor of Education and Music Psychology at University College London Institute of Education. Her research interests are learning and performance in music, issues relating to music education, and the wider impact of music on other skills. She has published extensively in relation to music psychology and music education, including Instrumental Teaching: A Practical Guide to Better Teaching and Learning (1998), The Power of Music (p. xi) (2001, 2014), Music Psychology in Education (2005), and Preparing for Success: A Practical Guide for Young Musicians (with Helena Gaunt; 2012). She is also coeditor of The Oxford Handbook of Music Psychology (2009) and Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations (2010).
Jennie Henley is Area Leader in Music Education at the Royal College of Music, London. Her professional career has involved instrument teaching, ensemble directing and choir leading in different contexts within England. She has worked in schools with children of all ages, and has led an out-of-school music center providing musical activities for children up to the age of eighteen. She has taught many adults and directed adult ensembles. Her research interests include the development of musicianship of adults in different contexts, including music in criminal justice and the musical development of primary generalist teachers. In 2011, she joined the University College London Institute of Education as Programme Leader for the MA Music Education and Primary Music Subject Leader, before moving to the Royal College of Music in 2015.
Lee Higgins is the Director of the International Centre of Community Music based at York St John University, U.K. He has held previously positions at Boston University, the Liverpool Institute for Performing Arts, and the University of Limerick, Ireland. Lee has been a visiting professor at Ludwig Maximilian University, Munich, and Westminster Choir College, Princeton. He received his PhD from the Irish Academy of Music and Dance, and in 2016 became president of the International Society of Music Education. As a community musician he has worked across the education sector, as well as within health settings, prison and probation service, youth and community, and orchestra outreach. As a presenter and guest speaker, Lee has worked on four continents in university, school, and NGO settings. He is the senior editor for the International Journal of Community Music and author of Community Music: In Theory and in Practice (2012).
Gary W. Hill is Professor of Music and Director of Bands at Arizona State University. He is one of the most sought-after guest conductors and clinicians in the wind band field. Hill’s current research agenda includes an exploration of biochemical reactions spawned by the musical process and work on a monograph concerning the future of instrumental music education.
Gillian Howell is a PhD candidate at Griffith University and lecturer in Community Music Leadership at Melbourne Polytechnic. Her research investigates community music in war-torn and post-conflict countries, among recently arrived refugees in Australia, and intercultural community music leadership. She has worked as a music leader and researcher in conflicted settings worldwide, and in 2016 was awarded a prestigious Endeavor Research Fellowship for research in Sri Lanka. Gillian is an award-winning musician and teaching artist, working with many of Australia’s flagship ensembles and arts organizations. She was the founding creative director of the Melbourne Symphony Orchestra’s Community Engagement Program, drawing the orchestra into challenging new collaborations and creating some of its most (p. xii) enduring learning and engagement programs. Gillian serves on several national and international music boards, including the Community Music Activity Commission of the International Society for Music Education, and Community Music Victoria.
Russell Isabella is an Associate Professor in the Department of Family and Consumer Studies at the University of Utah. Much of his research has focused on social and emotional development during infancy and childhood in the context of the developing family. Currently, with coauthor Kevin Rathunde, Isabella is studying the experience of pursuing passionate activities during middle adulthood and the effects of these pursuits on adjustments to identity throughout mid and later life. Additionally, Isabella and Rathunde currently are developing an arts-informed parent education program on the importance of play for children’s development and lifelong learning.
Sidsel Karlsen is Professor of Music Education and General Education at Hedmark University of Applied Sciences in Norway as well as docent at the University of the Arts Helsinki, Sibelius Academy in Finland. She is educated as a music teacher and singer, and spent several years teaching and performing music in a variety of formal and informal contexts before deciding to pursue an academic career. Sidsel has published widely in Scandinavian and international research journals and is a frequent contributor to international anthologies and handbooks in sociology and music education, such as Collaborative Learning in Higher Music Education (2013) and The Oxford Handbook of Social Justice in Music Education (2015). Her research interests cover, among other things, multicultural music education, the interplay between formal and informal arenas for music learning, the many aspects of musical agency, and the social and cultural significance of music festivals.
Olga Kornienko is an Assistant Research Professor at the Institute for Interdisciplinary Salivary Bioscience Research and Department of Psychology at Arizona State University. Her interdisciplinary research focuses on how social networks shape development, health, and well-being across the lifespan. She has published in Child Development, Social Neuroscience, Hormones and Behavior, and other journals.
Andrew Krikun is Professor of Music at Bergen Community College in Paramus, New Jersey, where he teaches courses in songwriting, music history, and music business. His articles have appeared in the International Journal of Community Music, the Journal of Popular Music Studies, and the Journal of Historical Research in Music Education. In 2006, he was awarded a Teaching Excellence Award from the University of Texas’s Community College Leadership program. As a singer-songwriter, Krikun maintains an active career as a performer, composer, and recording artist. His band, Andy and the Rattlesnakes, was a seminal force in the L.A. Punk/New Wave scene. A compilation CD of the band’s recordings, Last Summer to Dance, was released in 2006 and the band is currently working on a new album. He has written music for theater and film, including the 1996 comedy The Shot, and continues to write, perform, and record for eclectic musical projects. (p. xiii)
Brian Kumm is an Assistant Professor of Recreation Management at the University of Wisconsin–La Crosse. His research explores the intersections of daily life and artistic practices. Informed by developments in theories of affect, post-secular ethics, and post-humanist ontology, Brian’s work approaches questions related to the expression, affirmation, augmentation, and intensification of life capacities within a Spinozan-Deleuzian conception of joy. Ultimately, his work attempts to engage micro-interventions within everyday encounters to engender living as an art form.
Brett Lashua is Senior Lecturer at Leeds Beckett University, U.K. His scholarship is concerned with ways that young people make sense of their lives through leisure and popular music, as well as how young people are “made sense of” through particular representational and narrative strategies. He is coeditor (with Stephen Wagg and Karl Spracklen) of Sounds and the City: Popular Music, Place and Globalization (2014).
David Lines is Associate Professor of Music Education at the University of Auckland, New Zealand. He is also Associate Dean, Academic of the Faculty of Creative Arts and Industries. David has many research interests in music education including music education philosophy, community music, early childhood and primary arts education and studio pedagogy. He plays piano in a jazz group and enjoys experimenting with improvisation. David has been a primary and secondary school teacher prior to his current career as a university teacher and researcher. He has a particular interest in exploring how music and the arts bring joy and richness to people’s lives and stimulate ways of thinking, learning and expressions of self and community.
Fabio M. Lo Verde teaches Sociology and Sociology of Lifestyles and Consumption at the University of Palermo. From 2005 to 2010, he was Dean of the Social Sciences Department, and from 2005 to 2011 he coordinated the PhD program on Sociology, Territory, and Rural Development. His research interests focus on the transformations of lifestyles and consumption habits within Italian and European society, of the labor market and youth sociability, as well as of the new migrations in Italy. Recently, he has been working on leisure and amateur sport. Among his latest publications as author and editor are Sociologia del tempo libero (2009), Consumare/investire il tempo libero: Forme e pratiche del leisure time nella postmodernità (2012), Mapping Leisure across Borders (with Gianna Cappello and Ishwar Modi, 2013), Sociologia dello sport e del tempo libero (2014).
Thomas Malone is a composer, music educator, and researcher whose interest lies in pedagogies outside of the mainstream, including African and Caribbean drum and dance traditions, American rural and roots music, shape-note singing, and, more recently, the pedagogy and praxis of early hip-hop DJs. He received his undergraduate training at New England Conservatory, where he was a student of Richard Colwell, and completed his graduate work at Boston University with Anthony J. Palmer. Active as a teacher, clinician, and conductor, he has taught undergraduate and graduate music education at Boston University, Molloy College, and the University of Massachusetts (p. xiv) at Lowell. He currently directs Choral and Classroom Music as well as Hip-Hop and Pop Music pedagogy programs at the Vassal Lane Upper School in Cambridge, Massachusetts.
Roger Mantie (PhD, University of Toronto; MM, Brandon University) is Associate Professor at Arizona State University. His teaching and scholarship are informed by his fourteen years as a school music educator. His work emphasizes connections between schooling and society, with a focus on lifelong engagement in and with music and the arts. A widely published author, he is coeditor of the Oxford Handbook of Technology and Music Education (2017).
Marie McCarthy is Professor of Music Education at the University of Michigan. Prior to this position, she was on the faculty of the University of Maryland from 1990 to 2006. Her research interests include the social and cultural foundations of music education history, the transmission of music process cross-culturally, and children’s spirituality and arts education. She has published numerous articles and book chapters, and serves on the editorial boards of several journals. Her publications include two books, Passing It On: The Transmission of Music in Irish Culture (1999), and Toward a Global Community: The International Society for Music Education, 1953–2003 (2004). She is editor of the Journal of Historical Research in Music Education and serves on the History Standing Committee of the International Society for Music Education.
Zack Moir is a Lecturer in Popular Music at Edinburgh Napier University and the University of the Highlands and Islands. He is also a Teaching Fellow/Research Assistant at the University of Edinburgh. His teaching includes courses in popular music composition, music literacy, music theory, music analysis, musicianship skills, and instrumental performance. Additionally, he was part of the team that wrote, produced, and delivered the highly successful online course entitled “The Fundamentals of Music Theory” (Coursera), which was designed to provide an introduction to music theory for those who have never studied music academically. Zack’s research interests include popular music pedagogy, music in higher education, composition, and improvisation. He is one of the editors of The Routledge Research Companion to Popular Music Education (2016). In addition to teaching and research, Zack is an active composer and musician performing internationally in ensembles and as a soloist.
Jared O’Leary is a multiplicity whose research interests include interactive audio and learning; affinity, hybrid, and participatory music making and learning; skill acquisition and expertise; and critical discourse studies and discourse analysis. Visit JaredOLeary.com to stay up to date with his latest research.
Joseph Pate serves as an Assistant Professor of Outdoor Leadership at Young Harris College. Informed by his interests in music, connection, and meaning afforded through leisured spaces and experience, Joseph has engaged in research on music listening of those who report deeply significant, sought-after, and revered listening experiences. Joseph earned his doctorate in Recreation and Leisure Studies and a certificate in (p. xv) Qualitative Inquiry at the University of Georgia, where he focused on the listening act as a site for reverie, reverberation, resonation, and voice. His ongoing scholarly interests include the phenomenology of leisured spaces and experiences, connection, meaning, and growth.
Joseph Michael Pignato is a composer, musician, and music education scholar. He currently serves as Associate Professor of Music at the State University of New York, Oneonta, where he teaches music industry and directs experimental music and improvised rock ensembles. As a musician, Pignato leads Bright Dog Red, an improvising quintet that fuses free improvisation, electronica, jazz, hip-hop, psychedelia, and noise music. Additionally, Pignato works under the moniker u.joe recording drum tracks for DJs and producers, including DJ M A N I K and producer Mr. Temmtation.
Stephanie Pitts is Professor of Music Education at the University of Sheffield, with research interests in musical participation, arts audiences, and lifelong learning. She is the author of Valuing Musical Participation (2005), Chances and Choices: Exploring the Impact of Music Education (2012), and, with Eric Clarke and Nicola Dibben, Music and Mind in Everyday Life (2010). She is currently working on several research projects relating to audience experience, including audiences for the contemporary arts, and an edited volume on these topics an edited volume on these topics, Coughing and Clapping (with Karen Burland), was published by Ashgate in 2014. Coughing and Clapping (edited with Karen Burland) was published by Ashgate in 2014.
Shara Rambarran is an Assistant Professor of Music and Cultural Studies at the Bader International Study Centre, Queen’s University, Canada. Shara gained her PhD in Music at the University of Salford (U.K.). Her research and teaching interests include: musicology, postproduction, postmodernism, digital media, remixology, music industry, events management, education, and law (international property rights). She is an editor on the Journal on the Art of Record Production, and has written for Popular Music, Popular Musicology, Popular Music and Society, and PopMatters. Shara is the coeditor of The Oxford Handbook of Music and Virtuality (2016), and The Routledge Research Companion to Popular Music Education (2016).
Kevin Rathunde is a Professor in the Department of Family and Consumer Studies at the University of Utah. His research focuses on how intrinsically motivated experiences (e.g., flow) impact human development and learning, and how such experiences can be enhanced or disrupted by characteristics of individuals and contexts (e.g., family, school, and nature settings). Dr. Rathunde's latest research on leisure play and adult development draws on his past experience as a musician. Before receiving a PhD from the University of Chicago, he performed for over a decade in a pop-jazz-rock band and studied guitar improvisation at the Bloom School of Jazz and with noted educator and guitarist Frank Dawson.
Ronnie Richards is an Associate Lecturer in the Carnegie Faculty at Leeds Beckett University. His chapter in this volume is drawn from his current PhD research. His work (p. xvi) serves to contextualize the leisure experiences of individuals who participated in the subculture of Acid House, situated in the U.K. during the late 1980s and early 1990s. His work is significant in terms of its scope to link individual leisure activities and national or global (subcultural) communities to social trends and longer historical trajectories, including assessments and critiques of postmodern leisure.
Gabby Riches is a PhD candidate in the Research Institute for Sport, Physical Activity and Leisure at Leeds Beckett University. Her doctoral research explores the role and significance moshpit practices play in the lives of female heavy metal fans in Leeds’s extreme metal scene. Her research interests include the socio-spatial constructions of underground music spaces, subcultural performativity, affect, nonrepresentational theory, marginal leisures, and processes of embodiment.
Hermione Ruck Keene is currently researching a PhD in Sociology of Music with Lucy Green at the University College London Institute of Education. She is an Associate Lecturer at the University of Exeter, where she teaches on the Primary PGCE and MA Education–Creative Arts programs. Hermione continues to work extensively as a music educator. Her research interests include amateur musical participation, amateur and professional collaborations in music, singing and choirs, and lifelong musical learning.
Gareth Dylan Smith is an independent scholar based in London. He is at the forefront of research in popular music education, serving as editor for the Journal of Popular Music Education and The Routeldge Research Companion to Popular Music Education (2016), with numerous journal articles and book chapters published in the field. Gareth is a drummer and a long-time musical collaborator with other rockers, punks, theater musicians and songwriters, playing on various recordings and performing in bars, clubs, festivals, and theaters. His next commercial musical release will be a concept album entitled Tinker Tailor Soldier Rock. Following his cultural-psychological study of drum-kit players I Drum, Therefore I Am: Being and Becoming a Drummer (2013), his current research includes a phenomenological study of embodiment in drum-kit performance. His life in music, leisure and academia is comically chronicled at drdrumsblog.com.
Karl Spracklen’s work on leisure uses history, philosophy, and sociology to understand the meaning and purpose of leisure: how free leisure choices are, and how much modern leisure is a product of constraints. He has published three key monographs on leisure theory: The Meaning and Purpose of Leisure: Habermas and Leisure at the End of Modernity (2009), Constructing Leisure: Historical and Philosophical Debates (2011), and Whiteness and Leisure (2013). Professor Spracklen has published widely on leisure in journals such as Leisure Studies and the World Leisure Journal. He is interested in subcultures, identities, spaces, and hegemonies of leisure—his research on tourism, folk music and morris, Goth, heavy metal, and sport is all underpinned by a concern with the problem of leisure. He is the Principal Editor of the journal Metal Music Studies. Professor Spracklen was the Chair of the Leisure Studies Association from 2009 to 2013. He remains actively involved in the work of the association. Professor Spracklen is the (p. xvii) joint editor (with Karen Fox) of a book series for Palgrave Macmillan: Leisure Studies in a Global Era.
Robert A. Stebbins, FRSC, received his PhD from the University of Minnesota (1964). He has taught in the departments of sociology at the Memorial University of Newfoundland (1965–1973), University of Texas at Arlington (1973–1976), and the University of Calgary (1976–1999). Stebbins was elected Fellow of the Academy of Leisure Sciences (1996) and Fellow of the Royal Society of Canada (1999). His books include Serious Leisure: A Perspective for Our Time (2007), Between Work and Leisure: The Common Ground of Two Separate Worlds (2nd ed., 2014), Careers in Serious Leisure: From Dabbler to Devotee in Search of Fulfillment (2014), and The Interrelationship of Leisure and Play (2015).
Evan S. Tobias is Associate Professor of Music Education at Arizona State University, where his research interests include creative integration of digital media and technology, expanding beyond traditional music curricula, and integrating popular culture and music in music classrooms. Tobias heads the Consortium for Innovation and Transformation in Music Education at ASU and maintains a professional blog at http://evantobias.net.
Alberto Trobia is Associate Professor of Sociology and Social Research Methods at the University of Palermo. His main research interests are in the field of computational social sciences (with an emphasis on text analysis, network analysis, and agent-based simulation) and mixed methods. He is also interested in popular culture, mainly cinema (he participated in the Lord of the Rings Research Project) and popular music. Among his publications as author and editor are La Ricerca Sociale Quali-Quantitativa (2005); Sociologia del Cinema Fantastico (2008); Social Network Analysis (with Veronica Milia, 2011). He has also written some entries for The Encyclopedia of Survey Research Methods (2008).
Valerie L. Vaccaro is an Associate Professor of Marketing at Kean University. In 2001, she earned a PhD in Marketing from the Graduate Center of the City University of New York. Valerie has published her dissertation, journal articles, and conference papers on in-store music’s influence on consumers. In the 1980s and 1990s, she was a music journalist who reviewed concerts and interviewed jazz, rock, and pop musicians. She was also a DJ and promotion director at her college radio station and worked for record companies in New York City. Valerie is a lifelong learner, music maker, and supporter of music education. Valerie believes that listening to and playing music is a gift that can contribute to people’s well-being, health, and quality of life.
Maria Varvarigou is a Senior Lecturer in Music at Canterbury Christ Church University, a Senior Researcher at the Sidney de Haan Centre for Arts and Health, and a Visiting Research Associate at University College London, Institute of Education, University of London. Maria has been performing as solo singer, oboist, and chorister for many years. She has participated in several recordings of Greek traditional songs and has developed (p. xviii) a great interest in performance practices of traditional music. Maria completed her PhD in 2009 as a scholar of the A. S. Onassis Foundation. Her special areas of interest include ear playing and performance practices of vernacular music, choral conducting education, effective teaching and learning in higher and professional education, music and well-being, and intergenerational music making. Maria is coauthor of Active Ageing with Music: Supporting Wellbeing in the Third and Fourth Ages (2014).
Jenna Ward is Senior Lecturer in Human Resources Management and Organisational Behaviour at Leicester Business School. Her research interests include qualitative, sociological appreciations of emotional labor and the development of arts-based methods in the field of management studies. Her research has been published in Social Science and Medicine, Management Learning, Environment and Planning A, and Human Relations. Her most recent publication, The Dark Side of Emotional Labour (2015), coauthored with Dr. Robert McMurray from Durham Business School, explores the often unspoken and hidden aspects of emotion work that the rest of society would rather ignore.
Allan Watson is Lecturer in Human Geography and member of the Centre for Research in Communication and Culture at Loughborough University. His research interests focus on the economic geography of the cultural and creative economy, and in particular on the global music industry. His research has been published in leading journals, including Environment and Planning A, Global Networks, and Area. Current research on the music industry is funded by Research Councils UK and the Royal Geographical Society. Allan is the author of Cultural Production in and Beyond the Recording Studio (2014).
Serena Weren is the Director of Bands and Assistant Professor of Music at Loyola University New Orleans. She earned her Doctor of Music Arts in wind band conducting from Arizona State University and also has degrees from Franklin and Marshall College, Temple University, and Arkansas State University. She was the Director of Bands at Middletown High School South and has served as a guest conductor and clinician for concert and marching bands nationally and internationally. Her current research interests include investigating the association of instrumental music making, social networks, and biomarkers to aid in understanding our social and physiological relationship to music making.
Claire Yee is a PhD student in Psychology at Arizona State University, where her research interests include investigating the biology of close relationships and the role of positive emotions in the formation and maintenance of relationships. Claire’s research ultimately explores the tradeoffs of being in relationships across different contexts.