“What Makes Trap … Trap?” TIDAL magazine, June 8, 2020.
Anatomy of the Hit: Billie Eilish’s “Bad Guy”. TIDAL magazine, June 10, 2019. Part of a series (more TIDAL articles).
Foreword: The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices. Ed. Zack Moir, Bryan Powell, Gareth Dylan Smith. (Bloomsbury, 2019). Full text.
Songwriting, Digital Audio Workstations, and the Internet”. In The Oxford Handbook of the Creative Process in Music, edited by Nicholas Donin (Oxford University Press, 2018). E-book version. Pre-pub pdf.
Close to the Edge: investigating the myth of the ‘plagiarism threshold’ in musical creativity“. Joe Bennett. 19th Biennial IASPM Conference, 26 June 2017. University of Kassel, Germany. Abstract and slides.
Towards a Framework for Creativity in Popular Music Degrees.” Joe Bennett. In The Routledge Research Companion to Popular Music Education, edited by Gareth Dylan Smith, Zack Moir, Matt Brennan, Shara Rambarran, and Phil Kirkman, 2017.
Creativities in Popular Songwriting Curricula.” In P. Burnard and E. Haddon ed. Activating Diverse Musical Creativities: Teaching and Learning in Higher Education, edited by P. Burnard and E. Haddon. Bloomsbury, 2015.
“Constraint, Creativity, Copyright and Collaboration in Popular Songwriting Teams”. PhD thesis, University of Surrey, 2014.
REF 2014 Impact Case Study – the international impact of Joe Bennett’s research (Research Excellence Framework/Bath Spa University, 2014). [Bennett’s work was evaluated by the REF process to demonstrate ‘outstanding impacts in terms of their reach and significance’ and ‘quality that is world-leading in terms of originality, significance and rigour.’] .
Conference review: popMAC 2013.” Popular Music, 33, pp 341-342 doi:10.1017/S0261143014000026“Constraint, Collaboration and Creativity in Popular Songwriting Teams.” In The Act of Musical Composition: Studies in the Creative Process, edited by David Collins, 139–169. SEMPRE Studies in The Psychology of Music. Ashgate, 2012.  pdf
You Won’t See Me: in search of an epistemology of collaborative songwriting“. Art of Record Production #8, Quebec, Canada, 2013. pdf
Collaborative Songwriting – the Ontology of Negotiated Creativity in Popular Music Studio Practice.” In Journal of the Art of Record Production 2010. Leeds, UK: Art of Record Production, 2011. pdf (English) • pdf (Spanish)
You Can’t Teach Songwriting!” Total Guitar Magazine, September 2012.
“You Got a Friend – Co-writing Songs.” Total Guitar Magazine, August 2012.
“Come To Steal Your Song Away? Plagiarism in Popular Songwriting.” Total Guitar Magazine, July 2012.
The Song Remains The Same – Why? Darwinism in Song Evolution.” Total Guitar Magazine, June 2012.
Don’t Bore Us – Write a Chorus.” Total Guitar Magazine, May 2012.
(More Total Guitar songwriting articles)
Theoretically Speaking – Teaching Music Theory in Higher Education. Music Tech Magazine, Anthem Publishing, 2003.
Web 2.0 tools in teaching and learning – personal e-learning blog 2009-2012.
Over 300 articles (reviews, interviews, teaching, analysis) for Future Music, Total Guitar, Classic CD and others. Future Publishing, 1994-2000.


“How someone controlled you”: The Digital Audio Workstation and the Internet as influences upon songwriting creativity. 12th Art of Record Production conference, Kungl Musikhögskolan (Royal College of Music), Stockholm, Sweden, December 2017.
“Waging wars to shape the poet and the beat”: 
Songwriting, The Digital Audio Workstation and the Internet.” Massachusetts Music Educators’ Association (MMEA) conference, Boston, March 2017.
“I Hate These Blurred Lines: The Intrinsic Test In Music Copyright Disputes”. Joe Bennett and Wendy Gordon (Professor of Law, Boston University, USA). The 11th Art of Record Production Conference, Aalborg University, Denmark, 2016. Abstract.
“The death of the songwriter: attribution of creative ownership in popular music production.” In: The 9th Art of Record Production Conference: Record Production in the Internet Age, University of Oslo, Norway. 4-6 December 2014. pdf slides.
“Where is creativity? Locating intellectual property in collaborative songwriting and production processes.” In International Association for the Study of Popular Music (IASPM) UK & Ireland biennial conference, University College Cork, 12-14 Sept 2014.
“Who Writes the Songs?  Creative Practice and Intellectual Property in  Popular Music’s Digital Production Chain.” In Creativity, Circulation and Copyright: Sonic and Visual Media in the Digital Age, CRASSH Centre For Research In The Arts, Social Sciences And Humanities. Cambridge University 28-29 March 2014 – abstract
Forensic Musicology:  approaches and challenges.” In The Timeline Never Lies: Audio Engineers Aiding Forensic Investigators in Cases of Suspected Music Piracy. Presented at the International Audio Engineering Society Convention. New York, USA, October 2013.
“Two Worlds Collide: originality and plagiarism in songwriting” (IASPM, Gijon, July 2013) – abstract
You Won’t See Me: in search of an epistemology of collaborative songwriting (International Art of Record Production conference, Université Laval, Québec, June 2013) – abstract • download full text
“Applying Melodic Analysis to Infer the Extent of Plagiarism in Popular Song Authorship Disputes.” (PopMAC Popular Music Analysis conference. University of Liverpool, 2013 – abstract
“The Ontology of Collaborative Songwriting in Popular Music Studio Practice” (International Art of Record Production conference: Leeds Metropolitan University, 2010) – abstract
Music Skills symposium: ‘Bassoonists don’t play the blues – pedagogical alternatives to clef-based systems’ (Newcastle University Music CETL, 2009)
“Songwriting in Higher Education – a National Teaching Fellowship Project”. Higher Education Academy annual conference (University of Nottingham, July 2006)
‘Podagogy’ PALATINE conference – ‘iTunes and OSX Widgets in the teaching of Songwriting’ (University of Wolverhampton, June 2006)
“Evidence of Student Learning in Vocational Assessment Environments”. Carnegie Colloquium on the Scholarship of Teaching and Learning  (Atlanta, Georgia – 2005)
“The Ergonomics of Guitar-based songwriting”. Leeds Guitar conference – November 2004 – the ergonomics of guitar-based songwriting.
“Teaching and assessing songwriting in Higher Education” (presenter and chair): PALATINE Higher Education Academy Conference, Bath Spa University, 2004
Orsa Music fair (Sweden) – Oct 2005 – Teaching and Learning Songwriting in UK Higher Education


  • “Forensic Musicology: an overview (methodological lessons from music copyright case law)”. Boston University Law School, USA. November 2017.
  • “Revisiting Three Boys Music vs Michael Bolton” (mock retrial of Three Boys Music v. Michael Bolton 212 F.3d 477 (9th Cir.2000)). Boston University Law School, USA. November 2015.
  • “Originality, creativity and copyright in popular music”. Invited speaker, Universidad De Las Americas, Quito, Ecuador. 14 April 2014
  • “Creativity in songwriting”. Invited speaker, Lulea University of Technology, Sweden. 13 March 2014.
  • Songwriting, creativity and ownership (Newcastle University, November 2013)
  • Creativity and copyright in songwriting – defining the originality threshold. (Kingston University, London, November 2013)
  • Forensic Musicology:  approaches and challenges. Presentation as panelist; The Timeline Never Lies: Audio Engineers Aiding Forensic Investigators in Cases of Suspected Music Piracy. (Audio Engineering Society International Convention, New York, 2013)
  • Plagiarism and soundalikes. Panelist with Neil Innes, Philip Pope and Alan Parker. (Performing Right Society/BASCA, March 2011)

Teaching specialisms:

  • Popular Musicology
  • Popular Music Performance
  • Popular Music History
  • Songwriting
  • Song copyright and forensic musicology
  • Music Theory
  • Music Technology

Current teaching:

  • MMus Songwriting: Collaborative Songwriting
  • Various BA Commercial Music undergraduate modules
  • PhD supervision (advisor – creativity in musical theatre songwriting)



  • Bennett, Joe. Inside The Box (Grade 1 bass set work), Rockschool Ltd, 2012.
  • Bennett, Joe. Hyde In The Park (Grade 4 bass set work), Rockschool Ltd, 2012.
  • Bennett, Joe. All The Way (Grade 1 guitar set work), Rockschool Ltd, 2012
  • Bennett, Joe. Beat The Mersey (Debut guitar set work), Rockschool Ltd, 2012.
  • Bennett, Joe and Lederman, N. Mohair Mountain (Grade 6 guitar set work), Rockschool Ltd, 2012.
  • Bennett, Joe. Circus Experience (Grade 4 guitar set work), Rockschool Ltd, 2012.
  • Bennett, Joe. ICAUFO (Grade 3 guitar/bass/drums), Rockschool Ltd, 2012.
  • Bennett, Joe. Cranked (Grade 2 guitar set work), Rockschool Ltd, 2012.
  • Bennett, Joe with Troup. Simon. Dr Cocoa (Grade 1 guitar set work), Rockschool Ltd, 2012.
  • Bennett, Joe. Maiden Voyage (Grade 3 guitar/bass/drums), Rockschool Ltd, 2012.
  • Bennett, Joe, 2012. The State vs John Hayes (theatre score by Joe Bennett; play by LR Hunt). Hen and Chickens, London, April 2012; Edinburgh Festival Fringe, 2013; New York, USA, 2016).
  • Bennett, Joe with Neate, Andi, 2009. Crows, Rooks and Ravens. 13-track album of original songs co-written with Scottish singer-songwriter Andi Neate.
  • Bennett, Joe et al. The Rockschool Companion Guide (audio production and guitar): three audio CDs. Rockschool Ltd.
  • Bennett, Joe. Martha’s Park (Grade 2 guitar set work), Rockschool Ltd., 2006
  • Bennett, Joe. Gotta Lotta Rosa (Grade 1 guitar set work), Rockschool Ltd., 2006
  • Bennett, Joe. Garage Week (Grade 6 bass set work), Rockschool Ltd., 2006
  • 50+ recordings/compositions for the Total Guitar CD, Future Publishing 1994-1998.

MUSIC TEACHING BOOKS (selected) Amazon

  • Bennett, Joe. The Complete Junior Guitarist, Music Sales/Hal Leonard. 2009.
  • Bennett, Joe. “Guitar Tunings.” Artemis Editions ; Distributed by Hal Leonard, 2003.
  • Bennett, Joe. “Guitar Arpeggios.” Artemis Editions ; Distributed by Hal Leonard, 2003.
  • Bennett, Joe. Nü Metal – Really Easy Guitar. Wise, 2003.
  • Bennett, Joe. Sting: Really Easy Guitar. Wise, 2003.
  • Bennett, Joe. 21st Century Rock. Wise, 2002.
  • Bennett, Joe. Bob Dylan: Really Easy Guitar. Wise, 2002.
  • Bennett, Joe. Bryan Adams: Really Easy Guitar. Wise, 2002.
  • Bennett, Joe. Guitar: Absolute Beginners;: Book Two. Wise, 2001.
  • Bennett, J and Dick, A. The Complete Picture Guide To Playing Guitar. Wise, 2001.
  • Bennett, Joe. It’s Easy To Bluff… Acoustic Guitar. London: Wise, 2000.
  • Bennett, Joe. It’s Easy To Bluff… Blues Guitar. Wise, 2000.
  • Bennett, Joe. It’s Easy To Bluff Jazz Guitar. Wise, 2000.
  • Bennett, Joe. It’s Easy To Bluff… Metal Guitar. Wise, 2000.
  • Bennett, Joe. It’s Easy To Bluff… Music Theory. Wise, 2000.
  • Bennett, Joe. It’s Easy To Bluff Rock Guitar. Wise, 2000.
  • Bennett, Joe and Dick, Arthur. The Beatles – Really Easy Guitar. Wise, 1999.
  • Bennett, Joe. Guitar Chords To Go. Wise, 1998.
  • Bennett, Joe. Guitar Riffs To Go. Wise, 1998.
  • Bennett, Joe. Guitar Scales To Go. Wise, 1998.
  • Bennett, Joe. Total Guitar. Over 300 articles interviews, reviews, news, articles, transcriptions Future Publishing 1994-2000.

Curriculum Design

  • BA Commercial Music (Bath Spa University, 2003)
  • Popular Music Theory syllabus (consultant – London College of Music, 2003)
  • Foundation Degree Music Production/Popular Music (Bath Spa University, 2006)
  • Masters Degree in Songwriting (Bath Spa University, 2007) – with Andy West
  • Masters Degree in Songwriting – Distance Learning (Bath Spa University, 2010) – with Davey Ray Moor
  • Popular Music Theory Syllabus (co-author of syllabus – Rockschool Ltd, 2015)

External Examining:

  • Goldsmiths, University of London – External Examiner, BMus (2014-2018).
  • University of the West of Scotland – EE for MA Songwriting and Performance (2013-2016)
  • University of Chichester / Platform One Music EE for BA (Hons) Commercial Music (2008-2013)
  • Bucks New University – EE for BA (Hons) Music Management and Studio Production (2006-2010)
  • University College Chichester – Validation adviser for Foundation Degree Commercial Music (2008)
  • Southampton Solent University – EE for BA (Hons) Digital Music (2009-2012)
  • QAA programme and subject reviewer – Popular Music etc (2005-current)
  • University of Plymouth – Foundation Degree revalidations (2008)
  • University of Brighton and Northbrook College Sussex – EE for BA (Hons) Music Performance (2004-2008)
  • Christchurch College Canterbury – EE for Popular Music programme revalidation (2004)
  • Senior examiner in guitar/bass for LCMM (1992-2004)
  • Visiting examiner (Rockschool Ltd) 1999-2001

Other External Roles:

  • Expert witness forensic musicologist for Music Publishers’ Association (copyright infringement in songwriting) – 2007-current. Clients include Universal Music Publishing, Warner/Chappell Music Publishing, Adelphoi Music, Kassner Music Publishing, JWT, BBH, Simpson & Marwick LLP, Michael Simkins LLP, Edwards Wildman Palmer LLP, Woo Kwan Lee and Lo (Hong Kong), Van Straten solicitors and Fatfox Music Publishing, as well as many individual songwriters and artists. Cases include Naxos vs Salmon (2012) – (case judgement).
  • Musical Director for PRS Foundation Creative Exchange project (UK/Hong Kong songwriters) (2008)
  • Musical Director for Scottish Arts Council/BBC Glasgow performance of Burnsong – The Gathering (2007)
  • Musical Director for Burnsong 2009 at the Scottish Parliament (BBC Radio Scotland, 2009)

Recent Professional Updating:

  • “Can You Do That? Copyright Litigation for Unauthorized Derivative Works”. Continuing Legal Education (CLE) course, American Bar Association, March 2020.
  • Strategy Execution. 4-week course (senior Leadership professional development), Harvard Business School HBX. November 2018.
  • Research Excellent Framework – Equal Opportunities training (2012)
  • Leadership development (BSU, 2014)
  • QAA reviewer training (2005)
  • Pro Tools, Logic Pro, Melodyne, Stylus, BFD in-house training (2008)
  • Apple Certified Pro accreditation (Logic Pro) – 2006
  • BSU management skills training (EEF) – 2006
  • HERA (Higher Education Role Analysis) training 2010


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