| Introduction |
|
1 | (30) |
|
|
|
7 | (2) |
|
|
|
9 | (1) |
|
|
|
10 | (4) |
|
|
|
14 | (3) |
|
|
|
17 | (2) |
|
|
|
19 | (3) |
|
|
|
22 | (3) |
|
Objective Enemy, Subjective Ally |
|
|
25 | (4) |
|
|
|
29 | (2) |
|
|
|
31 | (42) |
|
|
|
35 | (22) |
|
|
|
36 | (3) |
|
Other Regimes of Production |
|
|
39 | (5) |
|
An Art of Separated Sounds: Situated Sounds, Restored Sounds |
|
|
44 | (1) |
|
|
|
45 | (4) |
|
|
|
49 | (2) |
|
|
|
51 | (6) |
|
|
|
57 | (16) |
|
|
|
57 | (4) |
|
|
|
61 | (4) |
|
|
|
65 | (2) |
|
|
|
67 | (2) |
|
|
|
69 | (4) |
|
|
|
73 | (48) |
|
I The Dystopia of Popularity |
|
|
75 | (28) |
|
|
|
75 | (1) |
|
|
|
76 | (2) |
|
|
|
78 | (3) |
|
|
|
81 | (2) |
|
|
|
83 | (2) |
|
|
|
85 | (1) |
|
|
|
86 | (1) |
|
|
|
86 | (3) |
|
Secession: The Romanticism of the Advocates of Mass Art |
|
|
89 | (2) |
|
The Popular as Injunction |
|
|
91 | (1) |
|
|
|
92 | (2) |
|
|
|
94 | (3) |
|
|
|
97 | (1) |
|
The Rhetoric of Conspiracy |
|
|
98 | (2) |
|
The Gruff Voice of the Wolf |
|
|
100 | (1) |
|
|
|
101 | (2) |
|
|
|
103 | (18) |
|
|
|
107 | (3) |
|
|
|
110 | (3) |
|
|
|
113 | (2) |
|
|
|
115 | (3) |
|
|
|
118 | (2) |
|
|
|
120 | (1) |
|
Chapter 3 No Synthesis: The Broken Form of Pop |
|
|
121 | (4) |
|
|
|
121 | (2) |
|
|
|
123 | (2) |
|
|
|
125 | (290) |
|
Chapter 1 The Hillbilly Paradox: Uprooted Authenticity |
|
|
129 | (58) |
|
|
|
133 | (12) |
|
|
|
133 | (3) |
|
Old-Time Music and `Hillbillies' |
|
|
136 | (3) |
|
|
|
139 | (3) |
|
|
|
142 | (3) |
|
|
|
145 | (6) |
|
|
|
145 | (2) |
|
|
|
147 | (2) |
|
|
|
149 | (2) |
|
|
|
151 | (18) |
|
|
|
151 | (3) |
|
|
|
154 | (4) |
|
|
|
158 | (5) |
|
|
|
163 | (6) |
|
IV Globalised Local Colour |
|
|
169 | (18) |
|
The Ethnographic Preservation of Specificity |
|
|
169 | (3) |
|
|
|
172 | (2) |
|
The Local Colour Industry |
|
|
174 | (3) |
|
|
|
177 | (3) |
|
Hybridisation-Appropriation |
|
|
180 | (7) |
|
Chapter 2 The Pop Subject: Democratised Genius |
|
|
187 | (70) |
|
I Situated Individualities |
|
|
191 | (26) |
|
|
|
191 | (1) |
|
(Disembodiment [ The Jazz-Subject] |
|
|
192 | (3) |
|
Immersion [ Into This World We're Thrown] |
|
|
195 | (3) |
|
|
|
198 | (1) |
|
The Aesthetic Truth of Particularity |
|
|
199 | (1) |
|
|
|
200 | (2) |
|
|
|
202 | (2) |
|
From Youth to the Generation |
|
|
204 | (2) |
|
|
|
206 | (2) |
|
|
|
208 | (3) |
|
|
|
211 | (3) |
|
Universalisation [ Betrayal] |
|
|
214 | (3) |
|
|
|
217 | (28) |
|
|
|
217 | (3) |
|
|
|
220 | (7) |
|
|
|
227 | (1) |
|
(All Voices Without Exception |
|
|
227 | (3) |
|
|
|
230 | (2) |
|
|
|
232 | (1) |
|
|
|
233 | (1) |
|
Failure of the Naturalist Position |
|
|
234 | (2) |
|
The Second Body of Pop Song |
|
|
236 | (1) |
|
A Robot That Imitates a Man Imitating a Nightingale |
|
|
237 | (2) |
|
|
|
239 | (1) |
|
|
|
240 | (2) |
|
|
|
242 | (3) |
|
III More and Less Than a Subject |
|
|
245 | (12) |
|
|
|
245 | (1) |
|
(The Resistible Rise of the Star |
|
|
245 | (2) |
|
|
|
247 | (1) |
|
|
|
248 | (1) |
|
|
|
249 | (2) |
|
|
|
251 | (6) |
|
Chapter 3 Hits and Hooks: Rationalised Magic |
|
|
257 | (62) |
|
|
|
263 | (10) |
|
|
|
263 | (2) |
|
|
|
265 | (1) |
|
|
|
266 | (2) |
|
|
|
268 | (5) |
|
|
|
273 | (8) |
|
|
|
273 | (2) |
|
|
|
275 | (1) |
|
|
|
276 | (2) |
|
|
|
278 | (3) |
|
|
|
281 | (16) |
|
|
|
281 | (2) |
|
The Manual (For Everyone) |
|
|
283 | (2) |
|
|
|
285 | (2) |
|
|
|
287 | (2) |
|
|
|
289 | (3) |
|
|
|
292 | (2) |
|
|
|
294 | (1) |
|
|
|
295 | (2) |
|
|
|
297 | (14) |
|
Pseudo-Individualisations |
|
|
297 | (2) |
|
|
|
299 | (1) |
|
|
|
300 | (3) |
|
Glamour, or The Art of Thickening |
|
|
303 | (4) |
|
|
|
307 | (4) |
|
|
|
311 | (8) |
|
|
|
311 | (1) |
|
|
|
312 | (1) |
|
`Almost-Hits' and `Already-No-Mores' |
|
|
312 | (1) |
|
|
|
313 | (6) |
|
Chapter 4 Pop and Progress: Historicised Innocence |
|
|
319 | (96) |
|
|
|
319 | (2) |
|
|
|
321 | (12) |
|
On a Par With the Achievements of the Age |
|
|
321 | (2) |
|
`Previously Unimaginable' |
|
|
323 | (1) |
|
|
|
324 | (2) |
|
A Paradoxical Transposition |
|
|
326 | (1) |
|
|
|
327 | (1) |
|
|
|
328 | (2) |
|
Did Someone Say Progress? |
|
|
330 | (3) |
|
|
|
333 | (52) |
|
|
|
333 | (1) |
|
|
|
334 | (8) |
|
|
|
342 | (6) |
|
|
|
348 | (8) |
|
|
|
356 | (1) |
|
Degraded Transmission---The Sound of Electricity |
|
|
356 | (4) |
|
|
|
360 | (7) |
|
|
|
367 | (6) |
|
|
|
373 | (1) |
|
|
|
373 | (12) |
|
III Another History Of The Musical Art of Pop |
|
|
385 | (6) |
|
Erudite Subjective Narratives |
|
|
386 | (2) |
|
|
|
388 | (1) |
|
|
|
389 | (2) |
|
IV Return of the Negative |
|
|
391 | (24) |
|
|
|
391 | (3) |
|
A Music They Can't Steal From Us |
|
|
394 | (2) |
|
|
|
396 | (3) |
|
|
|
399 | (1) |
|
|
|
400 | (4) |
|
|
|
404 | (4) |
|
|
|
408 | (7) |
| Conclusion |
|
415 | (12) |
| Acknowledgements |
|
427 | (2) |
| Index of Names |
|
429 | (10) |
| Index of Subjects |
|
439 | (8) |
| Index of Pop Works |
|
447 | (8) |
| Bibliography |
|
455 | |
Biežāk uzdotie jautājumi par e-grāmatām