Welcome to the APME Memphis 2025 conference. Here, you’ll be able to register for the conference and update your Sched profile. The conference schedule will be available in late spring 2025. At that time, you can view the schedule and select the presentations you’d like to attend. If you have any questions, please visit our conference website or contact us at conference@popularmusiceducation.org We look forward to coming together as a community June 4–7, 2025.
Steve Holley is a music educator/bassist/author living in Denver, CO. Steve holds a Ph.D. in Music Learning and Teaching from Arizona State University as well as a B.M. and an M.M. in Jazz/Classical Bass Performance from the University of Memphis. As a teacher, Steve previously served as the... Read More →
The purpose of this study was to examine undergraduate student experiences in a bluegrass ensemble, Appalachian traditions, and the impact of ensemble participation on the students’ collegiate careers. As undergraduate music programs work to create more culturally relevant spaces, the question arises: What culture are we moving toward? While pop music may appeal to the masses, more localized forms of music also deserve attention. “In the deep dark hills of eastern Kentucky,” one university set out to study and play the music of the locals, both past and present. The University of Pikeville maintains traditional wind band and choral ensembles, but the school also embraces its history. Dr. John Eric Rutherford, whose family hails from Paintsville, KY, and Logan, WV, has worked to raise Appalachian cultural awareness with the practice of bluegrass music among his undergraduate students. The University of Pikeville is located along the Country Music Highway (U.S. 23) in southeastern Kentucky. Many of its students are first-generation college attendees with family roots within a 100-mile radius. The UPike Bluegrass Ensemble is student-driven, with song selection and arrangements determined by the students themselves. Some students are just learning to play “bluegrass” instruments while others have developed skills before attending college. Their set list consists of old bluegrass standards and new favorites, as well as covers of rock, pop, and folk songs arranged in a bluegrass style. Suggestions for implementing bluegrass, country, folk, and traditional old-time music ensembles are offered.
Music literacy is considered an important aspect of musicianship, and developing both auditory and written music literacy is a major component of undergraduate Ear Training (ET) courses. Unlike many college-level music programs in the U.S., contemporary/popular music schools, like Berklee College of Music, see a highly heterogeneous group of students. The daunting task for contemporary/popular music educators is how to develop music literacy skills in students with diverse musical backgrounds. In the current research, we identified two major groups of students who enter into our introductory ET courses: visually-trained musicians needing to develop auditory literacy, and aurally-trained musicians needing to develop written music literacy. There is a paucity of research considering the acquisition of ear training skills when coming from aural versus visual music backgrounds, and an incomplete understanding of best pedagogical practices to support student skill development. Considering prior research, two components were identified as being critically important to ET success for both aural and visual musicians: a) musical memory (remembering), and b) schematic knowledge (understanding). Over the course of one year, the current study implemented pedagogical techniques developed to target these areas, and considered the impact on musical working memory, schematic knowledge, and course-related skills including melodic dictation.
The "schoolification" of popular music refers to adapting popular music to align with the formal structures and requirements of educational institutions. While music educators widely acknowledge popular music's musical, social, and engagement benefits, resistance to its inclusion in traditional music education still persists. This reluctance often stems from limited exposure to popular music in music educator preparation programs, a lack of diverse professional development opportunities, and concerns about declining enrollment in traditional ensembles. These challenges raise a critical question: how can educators integrate popular music into formal educational settings in a way that is both educationally robust and authentically inclusive? As popular music education continues to grow, it is essential to identify, explore, and critically evaluate innovative approaches to teaching and learning through popular music. This presentation will provide strategies for fostering student-centered and culturally relevant performance- and creativity-based popular music programs. The ideas presented are drawn from experiences with a university-level pop ensemble called Versatile. Established two and a half years ago, the ensemble comprises music and non-music majors who excel as musical code-switchers. By embracing more flexible and authentic practices, educators can ensure that popular music education remains vibrant, engaging, and meaningful for students.
The Zoo Band at Music Box is a group of emerging-professional musicians, composed of middle and high school students. These are students that take instrument, vocal and music production lessons. The group's diverse and expansive contemporary music repertoire of covers and originals speaks to the complete human experience of identity, love, loss, longing, and good times. Music Box musicians meet weekly to learn, write and practice together, under the leadership and guidance of a Music Box Modern Band Educator. The band draws inspiration from past and present music legends, various cultures and music styles, and always seeks to further refine their signature sound, give back to their community, and use their skills and talents for good. The band has been playing together for over 3 years, and has several recorded originals that they also perform.
"In today’s diverse and ever-evolving music industry, voice educators are seeking new tools as they adapt their methods to meet the unique needs of contemporary singers. ""Rolling In the Deep: Diving Into a Culturally-Relevant Approach to Teaching Today’s Contemporary Singer” is a workshop for educators who are seeking culturally responsive strategies for coaching singers in genres like pop, R&B, gospel, hip-hop, and other popular music genres. Participants will dive into the vocal techniques, stylistic nuances, and cultural contexts that define these genres, gaining practical tools that educators can apply immediately. With 18 years of experience teaching students across diverse genres including pop, rock, gospel, classical, opera, R&B, and musical theater, the presenter, DeAnna Johnson, combines practical insights with a deep understanding of the unique needs of contemporary vocalists. This interactive session will also feature exercises and warm-ups from her recent book, ""I'm Just Warming Up: Pop Vocal Warm-Ups and Practice Guide for Contemporary Singers."" Through case studies, collaborative discussions, and practical activities, attendees will explore how to bridge traditional vocal training techniques with the unique vocal techniques that define contemporary music while fostering inclusive and supportive environments for students to learn. This workshop will empower educators to inspire creativity, build confidence, and ensure their teaching remains relevant in the modern musical landscape. It’s a must for any music educator seeking innovative approaches to connect with today’s contemporary singer.
Popular music education has long been vaunted for its capacity to reach marginalized populations within schools. By providing access to popular music education, school districts can more effectively engage students of diverse backgrounds by providing music activities that are more culturally and personally relevant. However, the inclusion of popular music as part of a school district’s offerings does not ensure equitability in terms of access nor in terms of support. In some rural areas, it is common for students to opt into vocational training during the school day that removes them from their primary school campuses and substantially limits their options for enrolling in music courses. Often, these students come from the most impoverished families, thus, access to music classes is defined in part by socioeconomic status. In this presentation, I explore and reflect upon this aspect of teaching and learning music in a rural, largely impoverished district. In my particular teaching context, a guitar class was offered as an alternative to the traditional large music ensembles, but due to district scheduling policy, this site for popular music education was often used as a “dumping ground” for students who needed to earn a music credit, including many who attended off-campus vocational training. Although the district’s inclusion of popular music provides an important outlet for the students who utilize it, I argue that the policies of the district and other districts in the area re-entrench the physical separation and cultural differences of student populations, largely along lines of class.
Researchers have found that popular music ensembles can increase participation in school music programs and often produce increased student engagement and motivation. Yet, as the number of ensembles grows, there is no standard format for how popular music ensembles operate, and teachers often lack training in popular music pedagogies. Little is understood about why students are motivated in these classes, and teachers can often conduct these groups in controlling ways that harm students’ motivation. Self-determination theory posits that students who experience support for their basic psychological needs will be more motivated in their classes, have increased well-being, and be more likely to continue engaging with music. Using the self-determination theory as a framework, I examined student motivation in three popular music ensembles in the Northeast United States. Qualitative data was collected through interviews with students and observations of each ensemble. Findings suggest that students enroll in these ensembles because of intrinsic desires to play music and learn to play instruments in a way that differed from their previous school music experiences. Classes incorporating more in-formal and non-formal music learning techniques better satisfy students’ basic psychological needs, thus helping students develop intrinsic motivation for making music. The psychological need for relatedness was the most common contributor to student motivation, yet students with less relatedness support often had lower competence satisfaction. More autonomy-supportive teachers had more high-quality engagement from students, whereas controlling teachers thwarted student motivation in popular music classes.
This workshop will focus on how students can create original music and learn music theory at the same time! Bandlab for education is a free cloud-based DAW ( digital audio workstation ), and Flat.Io is a notation program. The workshop will show you how to use these programs in your class and how both can be used together. Students can compose a melody in Bandlab and export it directly to Flat and see the notation! Students will understand music theory more clearly when they can apply it to their own creations! This workshop will explore ways in which your students can learn music theory concepts and apply them to creation and collaboration, which, in the end, will increase student motivation and engagement! Resources and lesson plans will be provided!
This literature review study, part of the author’s current PhD research, will explore current thinking on the feasibility and advisability of cross-training singing teachers between different genres. Recent research data has highlighted a growing need for pedagogical training in Popular Music singing. Reasons posited for this include the increase in PM courses at HMEIs across the West, declining interest in and careers within the once-dominant sphere of Western classical music, and student demand for better career-oriented preparation within the PM industry. Conversely, most singing teachers currently working in Western schools and colleges are likely to have been classically trained due to long-standing cultural hegemonies and the lack of a PM-specific voice pedagogy framework. This leaves a considerable gap between the demand for PM genre-specific voice training and the supply of appropriately trained teachers. Generic ‘functional’ voice training pedagogy and cross-training for classical singers and singing teachers have been suggested as suitable approaches to fill this gap. However, wider debates currently taking place concerning cultural context and authenticity in singing voice pedagogy render this solution potentially problematic: If cultural context and immersion are an essential part of PM voice education, how do we reconcile this with cross-training teachers who have been immersed in an entirely different culture?
Authenticity is contested in educational settings, particularly in the contexts of musical expression and songwriting. Existentialist philosophy brings a nuanced perspective to these discussions by focusing on the tensions between the given conditions of one's existence and the individual's capacity to rise beyond these conditions through choice (Satre, 1944). In songwriting, this translates into an artist’s freedom to express personal truths rather than conforming to societal expectations. Heidegger (1962) adds that embracing one’s potentialities and confronting life’s uncertainties are key to authenticity—a concept reflected in music through emotional integrity and a willingness to face vulnerability. Existentialism enriches our understanding of how personal expression, emotional honesty, and creativity shape meaningful music. Sartre (1944) suggests that individual actions contribute to a collective human experience, which aligns with how artists use songwriting to contribute authentically to a cultural narrative. Through their unique perspectives, songwriters contribute by crafting songs that reflect collective experiences and personal truths. Music thus becomes a meaningful dialogue with listeners, emphasizing our interconnected existence (Sartre, 1944; Taylor, 1992). However, the distinction between ethical authenticity and exploiting personal suffering highlights the critical need to develop self-awareness and question what it means to engage ethically with the songwriting process. Current social climate also places an emphasis on the notion that people who have experienced trauma have more capacity for authenticity than others (Anderson & Peña-Guzmán, 2023), thus adding a further layer of complexity with regard to a so-called “ethics of authenticity”. Ethical authenticity calls for being genuine and true to oneself, but it also requires self-awareness, emotional regulation, and consideration for others. It involves sharing one's experiences and emotions in a way that is respectful, empathetic, and conducive to healthy relationships. In education, fostering authenticity means creating inclusive, supportive environments where students feel encouraged to explore their unique voices. Prioritizing authenticity in the classroom helps students embrace their individuality in the context of the collective, develop their unique artistic voices, and engage in personal growth—fostering both artistic expression and human connection.
Black kids are an underrepresented demographic in extracurricular piano study. Researchers have found low socioeconomic status to be a significant barrier to child participation in extracurricular activities (Kuhn et al., 2021), and Piano study as an extracurricular activity is amongst the least accessible due to financial barriers (i.e. instrument and lesson cost). These barriers have a greater impact on Black families in the U.S., as they are disproportionally below the poverty line (U.S. Census Bureau, 2023). In K–12 school settings, Black children participate in music study less frequently than their peers (Elpus & Abril, 2019), and although many educators have attempted to mitigate financial barriers by offering scholarships and loaner instruments, Black children remain vastly underrepresented in piano studios across the country (Duke et al., 1997). Another barrier might lie in students’ musical identity and cultures. The predominant model of piano teaching in America is deeply rooted in the Western art music tradition, which can be alienating for students whose musical identities differ from that of the curricula (Wright, 2008). Therefore, the purpose of this study is to investigate the lived experiences of middle school beginner piano students participating in a free, community group piano program hosted at a predominately Black inner-city school, with an aural-centered and culturally responsive (McKoy & Lind, 2022) curriculum. The curriculum follows Lucy Green’s (2014) HeLP approach for classrooms . Data collection is currently in progress and will be ready for presentation in the Summer of 2025.
Hi All! My name is Eden and I am a doctoral candidate in music education and piano pedagogy at Louisiana State University! My research interests include piano education access and motivating pre-college and community piano students through culturally inclusive studio curricula and... Read More →
Thursday June 5, 2025 11:30am - 12:00pm CDT Classroom 113 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
Popular music is authentically learned in a non-formal environment among peers (Green, 2002), so it is important to consider that student success in non-formal music learning environments can be influenced by the interactions and interpersonal relationships among peers and their teachers. It is important for teachers to understand the relationship nuances that can impact learning. Therefore, the purpose of this multiple instrumental case study was to examine the dynamics of interpersonal relationships both between teachers and students, and also among students and their peers within non-formal music learning environments rooted in popular music pedagogy. More specifically, how did participants describe the influence of interpersonal relationships on students’ musical achievement? This multiple case study consisted of four cases of modern music programs including teacher and student perspectives. Data collection included teacher interviews, classroom observations with field notes, student focus groups, individual student interviews, artifacts, and a researcher’s journal. Student autonomy, interpersonal relationships, and musical achievement were topics explored from both student and teacher perspectives within each popular music program. A cross-case analysis was completed to highlight each program's similar and unique features and address the specific research question. The four teachers each utilized varying degrees of student autonomy within their program, but all had a strong focus on building relationships with and among their students. Emerging themes were empowerment, negotiation, authentic learning, and how relationships impacted musical achievement within those domains.
Performing music ranging from Usher to Herbie Hancock to Kendrick Lamar, STEM Beats takes pride in delivering only the highest quality. Hailing from Holyoke, MA, we are the music program at Holyoke STEM Academy, a public middle school with approximately 300 students. Every student at STEM Academy is part of STEM Beats for the entire year.
STEM Beats has performed at various local schools, Boston University, hosted music education classes, and much more. We perform music chosen and arranged by our students. Our group features keyboards, drum sets, singers, rappers, mallet percussion, bass, and guitar. We are not a band, we are not a choir—WE ARE STEM BEATS!
Versatile is a collective of talented musicians from Alabama State University. Established in the spring of 2022, the ensemble includes both non-music, music majors, and majors who excel as musical code-switchers. The group takes pride in their professionalism, creativity, and versatility as music makers and multi-instrumentalists.
New York University's Steinhardt School recently overhauled its core music theory and aural skills requirements. Rather than having a single Western tonal theory sequence required for all music majors, students can now choose between a popular music sequence, a non-Western music sequence, and the traditional tonal theory sequence. Teaching the pop theory and aural skills classes has required us to develop new teaching methods and examples, assignments, projects and tests, but it also requires us to ask larger questions: What is popular music theory? How is popular music theory different from traditional theory pedagogy? What topics should we cover? What approaches and examples should we use? What do we expect students to know when they complete the classes? How much emphasis should we put on notation versus other music literacies? This session will present materials that my NYU colleagues and I have developed for pop theory and aural skills, assignments and project prompts that I have used, and reflections on what has worked and what requires some rethinking. I also offer my perspective as a self-taught rock and pop musician entering the music theory classroom, and how it affects my relationships to students and to the material we are teaching.
Ethan Hein holds a PhD in Music Education from New York University. He is an adjunct professor of music at NYU and the New School, where he teaches songwriting, music theory and production. As a founding member of the NYU Music Experience Design Lab, Ethan has taken a leadership role... Read More →
Thursday June 5, 2025 11:30am - 12:30pm CDT Computer Lab - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
Gender issues in music, mirroring those in society at large, have existed for centuries (Green, 1997; Campbell, 2022). Although research regarding the gendering of instruments appears to have peaked by the 1990s (e.g. Byo, 1991; Delzell and Leppla,1992; O’Neill, 1997), the issue itself remains timely; sex stereotyping persists as women still lack equal representation in almost every aspect of the music profession in the Westernized world (Hallam, Rogers, & Creech, 2008; Sheldon & Price, 2005). Given the continued uneven gender balances in instrumental music, the purpose of this study is to explore the gender-related personal, social, and musical experiences of female-identifying and gender non-conforming (gnc) musicians in masculine-dominated areas, using the lens of feminist pedagogy (Lamb, 1991, 1996). The results of this study may be used to further the conversation regarding the social roles of women in music and music education at all stages and propel further action to effect social change. We created an exploratory survey, based upon the extant literature, designed to develop an understanding of how women musicians currently experience masculine-dominated music spaces. After IRB approval, online survey invitations will be sent to female drummers/ percussionists, guitarists, bassists, conductors, and brass musicians. The survey includes questions about experiences commonly associated with female-identified and gnc persons, both in general and as musicians. Topics include life-cycle events, identity, mental and physical health, and experiences such as discrimination, harassment, belonging, and equity. Participants will also be asked open-ended questions regarding their experiences with gender-related issues in the music field.
Whatever the content, or the curriculum, perhaps the most important aspect of teaching regards HOW we teach. Music teaching, across the history of music education, has been dominated by teacher centered approaches. In a teacher centered classroom, the teacher tends to be in-charge of most, if not all, aspects of teaching and learning. This normally involves selecting music to be studied and performed, planning rehearsals/practices, teaching students correct pitches and rhythms, correcting performance issues, making creative decisions, planning concerts and designing assessments. This model of teaching is not the only choice. During this session, a specific learner-centered pedagogical approach, that features collaborative creativity, will be detailed. Learner-centered educational practices have roots back to John Dewey and Jean Piaget. In this setting, students are tasked with many of the duties traditionally reserved for the teacher. Thirty years of neuroscience, biology and cognitive psychology research findings, on how humans learn, offer one conclusion: It is the one who does the work, who does the learning. Included in the session will be an explanation of the elements that allow students to do the musical work, how to involve students with collaborative creativity, and real world examples. Time will be reserved for questions from attendees.
This presentation will explore the importance of incorporating racial trauma-informed strategies into music education, particularly in the context of popular music. By drawing on the rich cultural histories of Memphis and Chicago—two cities that have been at the forefront of racial integration and musical innovation—this session aims to equip educators with the tools to create a more inclusive and supportive learning environment.
The rapid evolution of the creative landscape, driven by technological advances and shifting industry dynamics, presents both exciting opportunities and significant challenges for student creators. This session, The Times They Are A-Changin: Future-Proofing Student Creators with Lessons from the Music Industry Past and Present, explores how past industry models, along with the innovations that have reshaped them, offer valuable strategies for students to not only navigate but also thrive in a constantly changing environment. We will discuss how artists, creators, and early disruptors shaped the industry, while exploring the developments of present-day tools and trends in social media, distribution, and direct-to-fan marketing that can help music students prepare for a fast-paced and unpredictable creator economy. Key focus areas will include personal brand development, creative autonomy, and adapting to ever-evolving business models like AI and streaming. This presentation and conversation aims to provide practical insights and actionable strategies to equip young creators with the skills needed to succeed and future-proof their music careers.
Brian Wilkins is a manager, educator, technologist, and entrepreneur with over 20 years of experience in the music, education, and technology. Brian has held executive and creative positions at major record labels (Sony Music Entertainment/Sony BMG/Universal Music Group), broadcasting/live... Read More →
Thursday June 5, 2025 2:00pm - 2:10pm CDT Classroom 105 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
Soulsville Strings Electric is a quintet comprised of some of our best string players. They perform various genres of music on an electric string quartet along with electric bass guitar.
The Art of Listening to Songs – Impactful Songwriting examines songs within their historical and social contexts, exploring musical choices that reflect the values and struggles of their eras. The workshop investigates the art of songwriting, especially the delicate balance between the ‘marriage of words and music,’ an essential element in creating songs that resonate emotionally with listeners. It highlights the alignment of melody, harmony, and rhythm with vernacular speech which lends an authentic flavor and feeling to songs that represent the culture and societal movements of their time. The workshop demonstrates how lyrics and music work together to convey deeper meaning. This session features selections from For My People – The Margaret Walker Song Cycle, a contemporary musical adaptation of the poetry of Margaret Walker, a Black poet from Jackson, Mississippi, who gave voice to the African American experience during the civil rights movement. The musical settings in For My People cross boundaries, drawing on popular, contemporary classical, gospel, and blues influences to paint and enhance Walker's poetry. The Art of Listening to Songs offers an immersive exploration into songwriting, guiding songwriters, music students, educators, and musicians on the value of learning to listen deeply to songs. The workshop aims to help creatives elevate their craft by making lyrics come alive to achieve truly impactful songwriting.
composer/pianist/author/educator, Randy Klein Music
Award-winning composer/pianist/author/educator - 4 Emmy - 2 Gold Records. Author: Quickstart Guide To Songwriting. Recordings: Millie Jackson (R&B Hall of Fame), Candi Staton, Lil Kim, Black Sheep, IRT, Savion Glover, Sesame Street. Musicals: Fancy Nancy: Splendiferous Christmas... Read More →
Thursday June 5, 2025 2:00pm - 3:00pm CDT SPAC - Hodges Choral Room3800 Central Ave, Memphis, TN 38117
Music has always been the soundtrack to our lives; telling stories and histories of what’s happening, what could happen and how it can get better. Everyone always says “that ain’t nothing but the blues.” The reason is the Blues is the foundation of American music, however it took the UK musicians to reintroduce African-American master musicians and songwriters to white America in the 1960s, formerly known as the “British Invasion.” Many British artists and bands were idolized and paid homage to Delta Blues musicians like Robert Johnson, Lead Belly, Howlin Wolf, Muddy Waters and so many more. In his forthcoming documentary film, "Take Me To The River London," GRAMMY and SXSW Award Winner Martin Shore tells this story through a style he has pioneered, The Living Documentary, that incorporates new and original art that evolves during the film providing an interactive experience. By examining these musical traditions and cultures through audio/visual and music activities that bring parts of these cultures to life during the presentation participants will gain an understanding of how these traditions inspired and reminded being able to be carried through to current times, providing a runway to build cultural fluency with a multicultural awareness lens. This will be done with audio and visual from the forthcoming film "Take Me To The River London."
This panel explores the multifaceted approaches to critiquing and developing popular music ensembles, drawing from professional and educational perspectives. Featuring distinguished panelists Boo Mitchell, Grammy-winning producer and owner of Royal Studios in Memphis, and Steven Potaczek, Assistant Professor of Commercial Music at Samford University, the discussion will highlight the intersection of artistry, technical precision, and pedagogy in ensemble performance. The St. George’s Independent School American Music Ensemble (SGIS AME), under the direction of Artist-in-Residence J. Thomas Link, will serve as a live lab ensemble. As the 2022 and 2023 back-to-back DownBeat Student Music Award winners in the Pop/Rock/Blues Ensemble category, SGIS AME specializes in American genres, performing a repertoire that includes classic Memphis soul and contemporary popular music. The ensemble will perform live excerpts, providing a platform for real-time critiques by the panelists. Boo Mitchell will bring insights from the professional recording and performance world, emphasizing artistic interpretation, arrangement, and authenticity. Steven Potaczek will focus on educational methods for fostering student creativity, ensemble cohesion, and technical growth in a school setting. Together, they will provide attendees with practical tools for evaluating and enhancing performance quality in both professional and academic contexts. This session offers a dynamic, hands-on exploration of how professional standards and educational objectives can inform and enrich the critique process, ultimately bridging the gap between industry expectations and classroom realities. Attendees will gain a deeper understanding of how to balance artistry with educational development, empowering musicians to excel across diverse performance environments.
Does theory knowledge still play a vital role in the life and practice of a professional musician? Did it ever, really? In a world where the majority of Pop/Jazz/Commercial musicians are sent reference recordings and YouTube links to prepare for a show, is it necessary to have studied notation, technique, history, traditional nomenclature, etc.? This dilemma is dealt with on a daily basis by thousands of musicians across the country. Does theory help? Can it make a difference? Can you be a professional player and not know anything about music theory? As broad a topic as this is, this 20-minute session will confront this issue to the fullest extent possible. There will be a brief presentation, followed by a discussion, time allowing.
Culturally responsive teaching is thought to connect student’s cultures, languages, and life experiences with what they learn in school. The human brain is wired to make connections between the known and the unknown, and it’s easier for our brains to learn and store information when we have a hook to hang it on. The hook, for most students, is the knowledge they bring into the classroom. Unfortunately, music educators have tended not to recognize what students know about music, and far to seldomly, do they champion student’s prior musical understanding in the classroom. This has been an ongoing issue in traditional ensembles such as band, choir and orchestra, where students encounter “quality” styles of music. These musics tend to be those that the teacher enjoys and values. On the surface it would seem that teachers of popular music classes and ensembles wouldn’t suffer from the same issues. After all, many students have significant understanding of popular musics and enroll in these courses for that reason. However, I suggest that too often popular music teachers bring their traditional ensemble roots with them when teaching popular music ensembles. They fail to allow students to make use of what they know, and as a result miss out on many culturally responsive opportunities. In this session, I will examine issues that limit culturally responsive teaching in popular music courses/ensembles, and I will suggest a strategy that approaches teaching and learning, in these classes, that can result in a deeper level of cultural responsiveness.
ROCK ’N’ ROLL has been the soundtrack of youth rebellion for almost eight decades. It is one of the United States’ most powerful cultural exports to the world. It may seem cliché to say rock ’n’ roll is not just about music, but the moment it gripped a postwar generation of American teenagers, its anthems became words to live by—and future generations would never be the same. Kids questioned the establishment and decided they did not need to follow parental rules and expectations. They stopped accepting the status quo, and their outside-the-box thinking contributed to accelerated technological advancement. Talented Latinx and Indigenous musicians who crossed cultural boundaries played a big role in the rise of rock ’n’ roll, and all that came with it. When I was a teenager in the 1980s in an extremely violent Peru, rock’s metal subgenre provided some of us with shelter, pride, inspiration, and empowerment. It was one type of music that was so loud and powerful that it shielded me from the sounds of the violence going on outside in the streets. More than thirty years later, these musicians are still my heroes. But the tribal essence of Latinx in the metal lifestyle has not been understood properly by social scientists because its story has not yet been told. Latinx and Native American musicians are present at the beginning of some very significant eras of loud rock, and have contributed to rock’s evolution. Generational renewal has kept alive a music to which critics would tend to attribute only shock value, making it a sixty-plus-year sound institution. In a historical sense, metal and punk remain the most extreme cultural variations of rock. I would even venture that just as African Americans have preserved Gospel through various genres, including rock ’n’ roll, Native Americans are protecting some of their traditions using hard rock. Rudy Sarzo and Carlos Cavazo moved metal from underground to mainstream, and gave fuel to metal capitals like San Antonio and Los Angeles. Rock ’n’ roll has attended its own funeral at least four times that I am aware of. And in all those times, what saved the music and kept the flame alive were the loud rockers. The ones with the warrior mentality. Latinx and Native American musicians contributed to the innovation of the time. And I am happy to help tell their story.
Musicians who master the art of being a side musician—those who back prominent artists in high-stakes settings—gain access to unique professional opportunities. At Record High at Prudential Center, we developed an innovative approach to prepare young musicians for such roles. This presentation will spotlight a case study featuring a quartet of high school string players who performed with a well-known country artist on The Today Show. Through targeted workshops, rehearsals, and professional mentorship, we equipped these students with the skills required to thrive in a live performance scenario on national television. Participants will gain insight into how we focused on ensemble cohesion, adaptability, communication with headlining artists, and the professionalism required for fast-paced production environments. A 2-3 minute video will provide a behind-the-scenes look at this journey, showcasing the students' preparation and the on-stage results. Attendees will leave with practical strategies to develop similar programs, engage industry professionals, and create meaningful performance opportunities for their students. Whether you're an educator or program director, this session will inspire you to empower the next generation of versatile, career-ready musicians.
There is a need for music in retirement homes, especially memory units. This presentation offers ideas that APME educators can adapt to encourage students – soloists or combos of any genre of music – to share their music with seniors in a way that brings joy to everyone.
My name is Brian Wansink, and I’m a retired Cornell marketing professor who has published best-selling books and 200-some journal articles. Now, as a later-life musician, I play sax in a Motown band (and in a Grateful Dead band), and I research how popular music can be used to encourage... Read More →
Thursday June 5, 2025 2:30pm - 2:40pm CDT Classroom 105 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
This paper explores codes of conduct co-created by student bands to establish clear expectations and consequences for behaviour within rehearsals. While research literature on band rehearsals has emphasised the importance of respect, shared goals, and efficient time management in successful music ensembles, it has been comparatively silent regarding the implementation of structured frameworks for addressing common band problems such as unpreparedness, time-wasting behaviours, and unresolved conflicts. My research investigated whether implementing structured frameworks, such as codes of conduct, may provide a level of formalisation often lacking in student-led popular music ensembles, potentially leading to more formalised and productive rehearsal environments. To observe students (ages 16-19) co-creating and implementing their own codes of conduct for rehearsals, the year-long study tracked how these codes were created, amended, adapted, and in some cases, ignored throughout the year. Observations and interviews offered insights into the practical challenges, successes, and disappointments of student-led efforts to formalise their rehearsal expectations and conceptions of professionalism. The study also uncovered the impact of these codes on the dynamics of leadership and authority within the bands, examining how student-led agreements influenced decision-making processes and accountability. This presentation offers insights into how popular music bands can create and utilise written agreements over time to cultivate a more professional and productive approach to rehearsals.
Lecturer in Popular Music, LASALLE | University of the Arts Singapore
I am in Singapore working to develop a Popular Music programme at a quickly growing college that will soon become a university. I run the Ensembles & Aural Skills (ear training) modules.My interests are primarily in pedagogy: learning cultures, meaning-making, differences in student/teacher... Read More →
Thursday June 5, 2025 2:30pm - 2:40pm CDT Classroom 101 - Legacy Building3775 Central Avenue 129 Music Building Memphis, TN, 38111
To more deeply engage with our host city of Memphis, we encourage you to visit some of the many music and cultural sites Memphis has to offer. APME has partnered with the following museums to offer a discounted admission rate to our conference attendees. Additionally, these discounts will be offered throughout the week of June 2. These partners include the STAX Museum of American Soul Music, the Civil Rights Museum, Sun Studios, the Smithsonian Rock n' Soul Museum, and the Blues Foundation Hall of Fame. Be sure to show your conference badge to receive the discount!
Ticketed event featuring live music and an open bar on the rooftop of the Peabody Hotel, known as "The South's Grand Hotel" and famous for their resident ducks. The rooftop provides a stunning view of downtown Memphis and the Mississippi River. More information soon.
Thursday June 5, 2025 8:00pm - 10:00pm CDT The Peabody Memphis149 Union Ave, Memphis, TN 38103, USA
