Popular Music and Parenting explores the culture of popular music as a shared experience between parents, carers and young children. Offering a critical overview of this topic from a popular music studies perspective, this book expands our assumptions about how young audiences and caregivers engage with music together. Using both case studies and wider analysis, the authors examine music listening and participation between children and parents in both domestic and public settings, ranging across children's music media, digital streaming, live concerts, formal and informal popular music education, music merchandising and song lyrics.
Placing young children’s musical engagement in the context of the music industry, changing media technologies, and popular culture, Popular Music and Parenting paints a richly interdisciplinary picture of the intersection of popular music with the parent–child relationship.
Shelley Brunt is Senior Lecturer in the Music Industry Program at RMIT University, Australia.
Liz Giuffre is Senior Lecturer in the Music and Sound Design Program at the University of Technology Sydney, Australia.
A research project that combines ‘parenting’ with ‘popular music’ naturally straddles the professional and personal parts of our lives. It also incurs many debts of gratitude to our families and colleagues, who have accommodated us over the years while we developed a seed of an idea into this fully fledged book. It truly does take a village.
We wrote Popular Music and Parenting while we were physically apart, in different cities, and on unceded traditional lands in Australia. For Shelley, these are the lands of the Wurundjeri people of the Kulin Nation, and for Liz, these are the lands of the Bidjigal and Gadigal people of the Eora Nation.We pay our respects to their Elders, past and present. Together, we would also like to thank the International Association for the Study of Popular Music Australia-Aotearoa/ New Zealand (IASPM-ANZ) branch members for their continued moral and intellectual support. This community of scholars remains some of the most giving, lively and inclusive on the planet, and we owe our careers to its members. Over the past few years, when we have aired the ideas presented in this book at various conferences, we have been offered questions (and also “this is less of a question, more of a comment...”) and other contributions: all have been gratefully received.
We also offer our thanks to 2SER FM and its support for Music Mothers and Others: our radio show and podcast that has provided a research method—and sanity outlet—for us. A special mention goes to our audio editor, Nina Longfellow, who joined us in the second season of the show. Most importantly, we are indebted to all of our music industry guests who freely gave their time and expertise for the interviews: Teeny Tiny Stevies, Mary and Kate from Gotta Be Done, Andrew P. Street, Alexandra Plim, KLP and Matt Okine from Diver City, Koko from Regurgitator’s Pogogo Show, Nardi Simpson, Dave McCormack, Nat Bartsch, Heidi Braithwaite, Kate Duncan, Chris Carey,Virginia Hanlon Grohl, Stephanie Ashworth and Paul Dempsey from Something for Kate, Don Spencer, Fionna Allan, Ben Green, Shevonne Hunt, Tania Wilds, Adam H. Phillips and R. Alex Murray from Childz Play, Dale Packard, Jane Gazzo, Felicity Urquhart and Josh Cunningham, Georgia Fields, Tegan Taylor, Lizzie Mack and Murray Cook from The Soul Movers, K. J. Tainton and Martha Wainwright. For editing and copyediting suggestions on the first full draft of the manuscript, we thank Annemarie Lopez, and finally, our helpful commissioning editor at Routledge Music, Genevieve Aoki, for steering this project towards publication.
Liz: I would like to acknowledge the University of Technology Sydney for its support in the form of research leave to help with this book.Also thanks to Joff Bush for the interview(s) and Lisa Roth for her support and interest—both of you are responsible for such fantastic music, too! Also thanks to the ‘Bluey Pod’ girls Mary and Kate for your energy always. I also thank Bruce Johnson, Ian Collinson and Sarah Attfield for their comments and patience with drafts, and for years of listening to sounds and ideas with such generosity. I thank my own parents Kerry and Tony, and children Sammy and Anthony for starting and keeping the music going; my husband Patrick for all of the things, and my sisters Patricia and Louise who shared the loungeroom sound system with me then, and still now.
Shelley: From the outset, I thank RMIT University for granting me research leave for one semester so I could focus on writing, and also the casual staff members who covered my undergraduate teaching duties during this time. I am particularly indebted to everyone at PBS Radio who helped to facilitate my field- work activities for the Rock-A-Bye Baby music sessions.A special mention goes to Meg Butler and Aleisha Hall for their generous assistance, not to mention the audience members wrangling their children during our interviews, and the bands that performed at the events in question: Burnt Sausages, Kylie Auldist, Kutcha Edwards,Thando, and Go-Go Sapien. For the daily exchange of ideas, intellectual support and much-needed good times, I offer heartfelt thanks to my colleagues in the BA (Music Industry) degree. My campus office-mate, Ian Rogers, deserves a special mention for his enthusiasm for this research topic, and for being my sounding board in close quarters. My greatest thanks goes to my family—Steve and Odette—who lived with me in lockdown during the lengthy creation of this book, and my parents whose help enabled me to reach the finish line.