Popular Music
Four Volume Set
Edited by:
- Chris Rojek - City, University of London, UK
© 2011 | 1 400 pages | SAGE Publications Ltd
This collection focuses on social science perspectives of popular music since the late 1970s. Since then, 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 |