Thomas Breeze

Much has been written on the different learning paths of classical and popular musicians and the view that popular musicians can be marginalized within the musical hegemony. Adopting Lucas, Claxton, and Spencer’s creative dispositions model, this article explores the extent to which this might occur when popular musicians learn to become secondary classroom music teachers. Data were collected through a series of semi-structured interviews from three popular musicians on a Post-Graduate Certificate of Education (PGCE) Secondary Music program. Utilizing a qualitative approach, the findings suggest that popular musicians innately demonstrate imaginative, inquisitive, and collaborative creative musical capacities. However, learning to teach seems to significantly impact their pedagogic identity as they experience underlying performativity cultures and hierarchical relationships in schools. This article considers the risks associated with undervaluing the creative dispositions of popular musician teachers, including minimizing their potential to reconceptualize pedagogic expertise at a time of significant education reform in Wales.