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Popular Music
Four Volume Set
Edited by:
- Chris Rojek - City, University of London, UK, City University London, UK
August 2011 | 1 400 pages | SAGE Publications Ltd
This collection focuses on social science perspectives on popular music since the late 1970s when the drift away from Musicology started. The latter focuses upon music as a sequence of notes and silence, rather than the social, economic, cultural and political contexts in which popular music is produced, exchanged and consumed. Since the 1970s, social scientists like Simon Frith, Larry Grossberg, Will Straw, Paul Willis, Andy Bennett, Keith Negus, Howard Becker and Sarah Thornton have intensively examined the phenomenon of popular music from a social science and cultural studies perspective. This is part of the same move in the social and cultural sciences that has magnified Visual Culture, Celebrity Culture, Television Studies, Film Studies, Media & Communication, Fashion, and much else besides as legitimate subjects for academic enquiry. This move has become known as 'the Cultural Turn'.
This collection launches from the Cultural Turn, but it will also incorporate key articles from the early social science of pop music. The aim will be to provide researchers and libraries with a four volume distillation of the best that has been thought and published in the academic study of popular music.
Volume One: History and Theoretical Traditions provides the historical and theoretical anchor for the remainder of the set.
Volume Two: Mode of Production brings together material that relates the production of popular music to technology, production, distribution and consumption, amongst others.
Volume Three: Institutions of Popular Music examines the academic literature on the main social and 'cultural intermediaries' of popular music such as impression managers, new systems of music promotion and informal politics.
Volume Four: Cultures and Subcultures of Popular Music guides the reader through music subcultures, audiences and globalization.
VOLUME 1: HISTORY AND THEORETICAL TRADITIONS
Defining the Popular
Popular
Raymond Williams
Introduction from The Troubadours
Robert Briffault
The Troubadour Tradition in Italy and England
Robert Briffault
On Popular Music
T. Adorno
Authorship
Will Straw
Towards an Aesthetics of Popular Music
S. Frith
Why 1955? Explaining the Advent of Rock Music
Richard Peterson
The Music Industry and the 'Cultural Imperialism' Thesis
Dave Laing
World Beat and the Cultural Imperialism Debate
A. Goodwin and J. Gore
Disciplinary Approaches
Musicology
Analyzing Popular Music: Theory, Method and Practice
Philip Tagg
Popular Music Analysis and Musicology: Bridging the Gap
Richard Middleton
Sociology
Sociological Approaches to the Pop Music Phenomenon
Paul Hirsch
Towards a Cultural Sociology of Popular Music
Andy Bennett
Culture, Media and Communication
Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music
Will Straw
Madonna: Mother of Mirrors
John Castles
Political Science
The Politics of Popular Music
Michael Birch
The Politics of Youth Culture: Some Observations on Rock and Roll in America
Lawrence Grossberg
Psychology
From the Functions of Music To Music Preferences
Thomas Schäfer and Peter Sedimier
Selective Hearing: Gender Bias in the Music Preferences of Young Adults
Brett Millar
Philosophy
Valuing and Evaluating Popular Music
Theodore Gracyzk
A Critique of Folk, Popular and 'Art' Music
Frank Howes
Cultural Geography
Recorded Music and Practices of Remembering
Ben Anderson
The Anomalies of being Faye (Wong): Gender Politics in Chinese Popular Music
Anthony Fung and Michael Curtin
VOLUME 2: TECHNOLOGY AND COPYRIGHT
Formations of Technology
Sound Studies: New Technologies and Music
Trevor Pinch and Karin Bijsterveld
Art versus Technology: The Strange Case of Popular Music
Simon Frith
The Sound of Music: Technological Rationalization and the Production of Popular Music
Paul Théberge
The Walkman Effect
Shuhei Hosokowa
Long Play: Adult-Orientated Popular Music and the Temporal Logics of the Post-War Sound Recording Industry in the USA
Keir Keighthley
Sample and Hold
A. Goodwin
Building International Empires of Sound: Concentrations of Power and Property in the 'Global' Music Market
Jack Bishop
Flexibility, Post-Fordism and the Music Industries
David Hesmondhalgh
Globalization of Mass Media Ownership: Implications and Effects
Paul Hirsch
Copyright and Illegal Downloading
Copyright and the Music Business
Simon Frith
The Effects of Piracy upon the Music Industry: A Case of Bootlegging
Lee Marshall
New Digital Technologies: Privacy/Property, Globalization and Law
Matthew David and Jameison Kirkhope
Cultures of Copying: Digital Sampling and Copyright Law
L. Bentley and B. Sherman
Sampling and Copyright
L. Bently
Reconstructing the Soul of Elvis: The Social Development and Legal Importance of Elvis Presley as Intellectual Property
David Wall
The Age of Consent: Traditional Music, Intellectual Property and Changing Attitudes in the People's Republic of China
H. Rees
VOLUME 3: REPRESENTATION AND CONSUMPTION
Representation
The Content and Validity of Music-Genre Stereotypes among College Students
Peter Rentfrow and Samuel Gosling
Music as Symbol, Music as Simulacrum: Postmodern, Pre-Modern and Modern Aesthetics in Subcultural Musics
Peter Manuel
From the Margins to the Mainstream
R. Huq
Open Letter: 'Black Music', 'Afro-American Music', and 'European Music'
Philip Tagg
'Leer-ics' and Lyrics: Teenage Impressions of Rock 'n' Roll
Lorraine Prinsky and Jill Leslie Rosenbaum
Stars
Frank Sinatra: The Popular Front and an American Icon
Gerald Meyer
Rock Culture: The Dialectics of Life and Death
David Rowe
Media
Pop Music and the Press
James Trammell
Radio Space and Industrial Time: Music Formats, Local Narratives and Technological Mediation
Jody Berland
MTV and the Globalization of Popular Culture
Jack Banks
Think Globally, Act Locally: China's Rendezvous with MTV
Anthony Fung
From Music Publishing to MP3: Music and Industry in the Twentieth Century
Reebee Garofolo
"Reality Goes Pop!": Reality TV, Popular Music and Narratives of Stardom in Pop Idol
Su Holmes
Fans
What about the Univores? Musical Dislikes and Group Based Identity Construction among Americans with Low Levels of Education
Bethany Bryson
Amateur Experts: International Fan Labour in Swedish Independent Music
Nancy Baym and Robert Burnett
Co-Creative Labour
John Banks and Mark Deuze
VOLUME 4: CULTURES AND SUBCULTURES OF POPULAR MUSIC
Cultures
Cultures of Music Piracy: An Ethnographic Comparison of the US and Japan
Ian Condry
Youth Culture, Music and Cell Phone Branding in China
Jing Wang
J-Pop and Performances of Young Female Identity: Music, Gender and Urban Space in Tokyo
Csaba Toth
Rap Music and the Black Musical Tradition: A Critical Assessment
Andre Craddock-Willis
Youth Subcultures and their Cultural Contexts
Jon Stratton
Subcultures
Subcultural Identity in Alternative Music Culture
Holly Kruse
Digital Subculture: A Geek Meaning of Style
J. A. McArthur
On the Evolution of Rai Music
Hana Noor Al-deen
Subcultures or Neo-Tribes: Rethinking the Relationship between Youth, Style and Musical Taste
Andy Bennett
Heavy Metal Music: A New Subculture in American Society?
Robert Gross
Homies in the Hood: Rap's Commodification of Insubordination
Ted Swedenberg
Creating a Scene: Balinese Punk Beginnings
E. Baluch
Rave and Straightedge: Exploring Online and Offline Experiences in Canadian Youth Subcultures
B. Wilson and M. Atkinson
World Music/Hybrid Formations
Between Globalization and Localization: A Case Study of Hong Kong Popular Music
Wai-Chung Ho
On Redefining the 'Local' Through World Music
J. Guilbault
World Music: Deterritorializing Place and Identity
John Connell and Chris Gibson
