Warner, T. 2003. Pop Music Technology and Creativity: Trevor Horn and The Digital Revolution. Aldershot: Ashgate.
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The ubiquity of popular music has undeniably created necessary pathways for the study of popular music; specifically, its creational processes, the individuals behind its production (i.e., studio engineers, record producers and musicians) and the types of technology utilized throughout. Musicology long remained isolated to Western-classical high art music, thus creating a need for investigations into popular music. Popular musicology has become, more than ever, an evolving field with areas for new directions in academic research. Scholars’ revelations and insights expose evidence of the time-consuming, creative and imaginative exploration behind the production of popular music. These investigations may be used not only for historical and social phenomenological understandings of popular music, but also for music teacher educators and music educators alike. Insights from popular musicology can inform both curriculum and teaching practices regarding the influence, integration and interconnectedness of technology, creativity and pop music. As the field of music education continues to accept popular music into its curricular offerings, the work of popular musicologists provides enhanced understanding into the processes, production and consumption of pop music, thus impacting real-world and career-orientated music classes. Although the book was written nearly 15 years ago, Pop Music Technology and Creativity: Trevor Horn and the Digital Revolution illuminates the vast speed at which technology has developed in recent years, the challenges associated with this speed, and its impact on creating, producing, and disseminating music since its release in 2003.
