In this article, I explore how popular music became incorporated into the field of music education in the 21st-century United States. In doing so, I suspend notions of popular music education as simply inclusive or able to produce creative people. Instead, I question how inclusion becomes constructed and defined historically in relation to ideas…

This paper offers an invitation to higher music education communities to think differently about the significance of the connections between music and play. We highlight the many texts that articulate these connections and draw together a speculative ontological claim that all musicking is an enactment of play. In other words, we ask how…

The purpose of this paper is to introduce the "Do It Yourself" (DIY) framework as a mode of critical qualitative scholarship. The authors argue that the production and distribution methods used by punks, zine-makers, graffitists, and skateboarders--among others--may support the social justice intentions of critical qualitative inquiry.…

As young people continue to confront transition issues such as school-to-work pathways, they are concomitantly developing their own social and cultural priorities and responding to them in new and innovative ways. This process warrants a greater focus on young people's identity work as they navigate their transitions through increasingly fluid…

The structure of music preferences has been investigated extensively. However, development of music preferences in terms of consistency of music taste is as yet understudied. In this study, intra-individual consistency of music taste was assessed among Dutch adolescents and young adults over three points in time in a 21-month period. An…

This paper explores the issue of motivation in music learning in higher education by contextualising data collected as part of the "Investigating-Musical-Performance" research project (Welch, et al., 2006-2008). The discussion begins with findings which suggest that popular, jazz and folk musicians experience more pleasure in musical…

Argues that the recording of music is both an act of social control and of aesthetics. Suggests that the remixing of previously recorded music to create a new recording is itself a form of artistic expression. Concludes that the possibility of remixing creates unending possibilities for artistic collaboration. (SG)

Explores a period in American rock 'n' roll known as the Brill Building era. Argues that this marked the massive entry of women into rock 'n' roll, providing anglo Americans with their first taste of a female youth culture focused on sexuality and their first exposure to the voices and vernacular of young, African American women. (PA)

Examines the use of religious and sexual imagery in rock music videos to determine their frequency of occurrence and occurrence in combination. Content analysis of 160 videos shows that religious imagery is present in a significant and nonrandom fashion and that it is more likely to occur with sexual imagery than without it. (SLD)

Considers Allan Bloom's criticism of popular music in "The Closing of the American Mind." An examination of the music popular with young people, including a look at Afro-American music, suggests that it has virtues that will survive and that love for contemporary music is not the moral and cultural dead end Bloom has suggested. (SLD)

The ability to record sound is power over sound. Musicians, producers, recording engineers, and the popular music audience often refer to the sound of a recording as something distinct from the music it contains. Popular music is primarily mediated via electronics, via sound, and not by means of written notes. The ability to preserve or modify…

College radio is quite often viewed as the true alternative to commercial radio. However, what is alternative radio and how does college radio factor into the ideal? To further understand this concept, this paper focuses on the role of alternative programming in college radio. Areas discussed include alternative radio as a non-mainstream form of…