If Colors Could Be Heard: Narratives About Racial Identity in Music Education is a platform of by and for People of Color who are music educators artists activists and students. For this book we asked authors to consider their race and ethnicity as an intimate and essential part of their music learning making and teaching.



The narratives in this collection include tales of being a music student stories of growing up and finding one’s place in musical worlds and accounts of teaching students about race ethnicity culture and identity. The chapters in this book are not research studies unless explicitly stated by the author.



Instead the chapters in tandem represent a stunning mosaic with shades of melanated skin that will serve as a scholarly picture that represents a portion of music education in the United States. Here you will find self-told stories by people from the Global Majority—a term used to describe Black African Asian Brown Latin Dual-heritage and Indigenous people.

The Intellect Handbook of Popular Music Methodologies attempts a comprehensive overview of methodological approaches within the field of popular music studies. Alongside contributions from key thinkers already established in popular music studies the strength of the collection lies in its inclusion of many new and emerging writers in the field. Therefore the collection incorporates a wide range of practitioners pedagogues and academics from an extensive range of disciplines and thus drawing from a diversity of methodological approaches. These include those that are perhaps more established such as semiotics ethnography and psychology alongside exciting new approaches within popular music including eco-musicology religion intersectionality and archeology. Although previous books have provided an overall of concepts studied within popular music studies this will be the first comprehensive Handbook of popular music methodologies.

El Vez performances present a powerful message of social justice and inclusion in changing US and social contexts. Make the Dream Real interrogates how this message is activated through world-building: the use of a variety of theoretical theatrical and musical tactics that bring into being a progressive social space that refutes the current economic political social and cultural configurations of the United States.



World-building in an El Vez show “makes the dream real” by imagining a society in which equal rights are guaranteed inclusivity is fostered difference is valued and the violence of economic inequality is mitigated. But world-building through performance is not content to reside exclusively in the individual imagination or the social imaginary; it temporarily creates this new social space in actual time and space for the audience to experience. Using a dramaturgical methodology which marries theoretical inquiry to theatrical practice based on dramaturgical thinking critical proximity and intellectual flexibility the book delves into the theoretical foundations that inform artist Robert Lopez’s work and each chapter analyzes a different performative component he uses.



Make the Dream Real interrogates how El Vez’s playful engagements hold the United States to its egalitarian promises voicing and enacting - however fleetingly - a just and richly inclusive social space through performance.

What happens when precarious urban cultural labourers take data collection laws and policymaking into their own hands? Buskers have been part of our cities for hundreds of years but they remain invisible to governments and in datasets. From nuisance to public art this cultural practice can help us understand the politics of data collection archives regulatory frameworks and urban planning. Busking also responds to underlying questions on the boundaries of the right to the city – and who has a voice in shaping how our cities are planned and governed.



A transnational exploration of street performance Urban Music Governance examines the intricate limits of legality data visibility and resistance from the perspective of those working at the social and regulatory margins of society. Based on a decade of fieldwork in Rio de Janeiro and Montreal this book puts forward a lively account on why such an often-overlooked practice mattes today.



By investigating the role of busking in contemporary society Urban Music Governance presents an original interdisciplinary study that exposes how power dynamics in policymaking decide issues of access – and exclusion – around us above and below ground.

Industrial music appeared in the mid-1970s and far from being a simple sound experimentation phenomenon it quickly spawned a coherent visual culture operating at the intersection of a multitude of media (collage mail art installation film performance sound video) and initiated a close inspection of the legacy of modernity and the growing pervasive influence of technology.



Originally British the movement soon outgrew Europe extending into the United States and Japan during the 1980s. The sound experiments conducted by industrial bands – designing synthesizers manipulating and transforming recorded sounds from audio tapes either recycled or laid down by the artists – were backed up by a rich array of radical visual productions deriving their sources from the modernist utopias of the first part of the 20th century. Such saturated sounds were translated into abrasive images manipulated through the détournement of reprographic techniques (Xerox art) that investigated polemical themes: mind control criminality occultism pornography psychiatry and totalitarianism among others.



This book aims to introduce the visual and aesthetic elements of 1970a and 1980s industrial culture to a general history of contemporary art by analysing the different approaches taken and topics addressed by the primary protagonists of the movement who perceptively anticipated the current discourse concerning the media and their collective coercive power.

Traditionally popular music has long been said to intrinsically contest resist and defy the powers that be. This new book challenges this long-standing orthodoxy arguing that popular music more often participates in the social reproduction of the biggest power there is: neoliberal capitalism. This is done mainly through the widespread mediation of a very particular and remarkably cohesive ideology of greatness and value. This ideology is drawn from principles and prescriptions that have long been constitutive of neoliberal capitalism. We have been told this story over and over again for decades.



The music is real. The music is powerful. The music is defiant.



It is a story that has gradually spread to encompass everything from classic rock to contemporary pop to hip hop to dance music. This suite of ideas came to dominance since the mid-1980s and persist to the present an era in which the vast majority of people have been disempowered impoverished and marginalised at home at work and in politics. This book explains why such a robust pervasive and persistent set of ideas about popular music has taken such a tenacious hold in a historical era which has repeatedly and thoroughly demonstrated the utter falseness of those same ideas nearly everywhere they have been experienced.