ABSTRACT
This chapter will examine the findings of the Musical Gentrification Project using Gramsci’s (1975/1992) concept of hegemony including his theorisation of the roles of intellectuals therein. Richard Day’s (2004, 2005) activist, anarchist-based theory concerning “the hegemony of hegemony” will then be used to present an analysis of the persistent, repeating patterns of hegemony that the Musical Gentrification project’s data demonstrate. The author will then speculate on future implications for the field of higher music education. The chapter will conclude with consideration of potential strategies that might address the situation in relation to popular music, musical gentrification and hegemony analysed within the Musical Gentrification project.
