Section 1: musical meaning and history; masculinity and migrancy under early Apartheid - gender and popular song in South Africa; analyzing popular songs; cover versions and the sound of identity in motion; in search of musical meaning - genres, categories and crossover. Section 2: audiences, consumption and everyday life; raving, not drowning - authenticity, pleasure and politics in the electronic dance music scene; the curse of fandom - insiders, outsiders and ethnography; popular music audiences and everyday life; ubiquitious listening. Section 3: production, industry and creativity; mainstreaming - hegemony, music markets and the aesthetics of the centre; value and velocity - the twelve-inch single as medium and artefact; creativity and musical experience; the politics of Calypso in a world of music industries. Section 4: place, space and power; locating Salsa; blacking Japanese, experiencing otherness from afar; India song - popular music genres since economic liberalization; rock aesthetics and the "Pop-Rockization" of popular music.
Covers textual analysis, place and space, production, consumption and everyday life. Outlines the history and development of popular music studies and introduces its unique contribution to understanding musical cultures. Offers an unprecedentedly international perspective on popular music, featuring writers based in North and South America, Europe, Japan, Australia, New Zealand and South Africa. Features prominent writers in the field, and also showcases a generation of new voices. Is genuinely interdisciplinary, featuring contributions from media and cultural studies, sociology, music analysis, ethnomusicology and performance studies. Provides clear and concise editorial material, explaining how the chapters fit into the main debates in popular music studies.
David Hesmondhalgh is Professor of Media and Music Industries and
Director of The Media Industries Research Centre at the University
of Leeds, UK.
Keith Negus is Professor of Musicology at Goldmsiths, University of
London, UK.
'A stimulating, kaleidoscopic work of unprecedented geographical
and methodological range. The editors' introduction is the finest
concise overview of popular music studies I've seen.'
*Robert Walser, Professor and Chair of Musicology, University of
California, Los Angeles*
'An up-to-the-minute field report on the current state of popular
music studies, this excellent collection has the merit of not just
recommending interdisciplinary but practising it, not just
criticising the undue pop/rock emphasis of an earlier stage but
offering a model for an overdue increase in pluralism.'
*Richard Middleton, Professor, Department of Music, University of
Newcastle, UK*
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