The Handbook represents a timely and important contribution to popular music studies during a significant period of theoretical and empirical growth and innovation in the field.
"The SAGE Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard reference in popular music. The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship. International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field."
- Will Straw, Director, McGill University
"Celebrating the maturation of popular music studies and recognizing the immense changes that have recently taken place in the conditions of popular music production, The SAGE Handbook of Popular Music features contributions from many of the leading scholars in the field. Every chapter is well defined and to the point, with bibliographies that capture the history of the field. Authoritative, expertly organized and absolutely up-to-date, this collection will instantly become the backbone of teaching and reseaerch across the Anglophone world and is certain to be cited for years to come."
- Barry Shank, author of 'The Political Force of Musical Beauty' (2014)
The SAGE Handbook of Popular Music provides a highly comprehensive and accessible summary of the key aspects of popular music studies. The text is divided into 9 sections:
- Theory and Method
- The Business of Popular Music
- Popular Music History
- The Global and the Local
- The Star System
- Body and Identity
- Media
- Technology
- Digital Economies
Each section has been chosen to reflect both established aspects of popular music studies as well as more recently emerging sub-fields. The handbook constitutes a timely and important contribution to popular music studies during a significant period of theoretical and empirical growth and innovation in the field.
This is a benchmark work which will be essential reading for educators and students in popular music studies, musicology, cultural studies, media studies and cultural sociology.
Recenzijas
The Sage Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard textbook in popular music. The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship. International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field. -- Will Straw Celebrating the maturation of popular music studies and recognizing the immense changes that have recently taken place in the conditions of popular music production, the Sage Handbook of Popular Music features contributions from many of the leading scholars in the field. Every chapter is well defined and to the point, with bibliographies that capture the history of the field. Authoritative, expertly organized and absolutely up-to-date, this collection will instantly become the backbone of many courses across the Anglophone world and is certain to be cited for years to come. -- Barry Shank The editors have enlisted a diverse cadre of contributors in terms of gender, profession, or stage in their academic careers, making for a refreshing reading experience when approaching the work straight through. Highly recommended. -- V.J. Novara, University of Maryland
| Acknowledgements |
|
ix | |
| Notes on the Editors and Contributors |
|
x | |
| Introduction |
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1 | (10) |
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| Part I Theory And Method |
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11 | (88) |
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1 The Many Worlds of Popular Music: Ethnomusicological Approaches |
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15 | (18) |
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2 Notes on Sociological Theory and Popular Music Studies |
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33 | (15) |
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3 Waiting for the Great Leap Forwards: Mixing Pop, Politics and Cultural Studies |
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48 | (16) |
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4 (Re)generations of Popular Musicology |
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64 | (19) |
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5 Archival Research and the Expansion of Popular Music History |
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83 | (20) |
|
Christine Feldman-Barrett |
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| Part II The Business Of Popular Music |
|
99 | (70) |
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6 Power, Production and the Pop Process |
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103 | (17) |
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7 Intermediaries and Intermediation |
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120 | (15) |
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8 Popular Musical Labor in North America |
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135 | (19) |
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9 Music in Advertising in the US: History and Issues |
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154 | (19) |
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| Part III Popular Music History |
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169 | (54) |
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10 Grinding Out Hits at the Song Factory |
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173 | (16) |
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11 Popular Music Genres: Aesthetics, Commerce and Identity |
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189 | (18) |
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207 | (20) |
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| Part IV The Global And The Local |
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223 | (74) |
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13 African, African American, Middle Eastern and French Hip Hop |
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227 | (16) |
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14 Liminal Being: Electronic Dance Music Cultures, Ritualization and the Case of Psytrance |
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243 | (18) |
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15 Everything Louder than Everyone Else: The Origins and Persistence of Heavy Metal Music and Its Global Cultural Impact |
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261 | (17) |
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16 Punk Rock, Hardcore and Globalization |
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278 | (23) |
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| Part V The Star System |
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297 | (64) |
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301 | (16) |
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18 Everybody's in Show Biz: Performing Star Identity in Popular Music |
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317 | (15) |
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19 Midnight Ramblers and Material Girls: Gender and Stardom in Rock and Pop |
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332 | (14) |
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20 Dark Cosmos: Making Race, Shaping Stardom |
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346 | (19) |
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| Part VI Body And Identity |
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361 | (74) |
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21 Blurred Lines, Gender and Popular Music |
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365 | (16) |
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22 Popular Music, Race and Identity |
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381 | (20) |
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23 Dancing the Popular: The Expressive Interface of Bodies, Sound and Motion |
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401 | (17) |
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24 Shaping the Past of Popular Music: Memory, Forgetting and Documenting |
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418 | (21) |
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| Part VII Media |
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435 | (74) |
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25 In Print and On Screen: The Changing Character of Popular Music Journalism |
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439 | (17) |
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26 Sight and Sound in Concert? The Interrelationship Between Music and Television |
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456 | (19) |
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27 Viewing With Your Ears, Listening With Your Eyes: Syncing Popular Music and Cinema |
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475 | (18) |
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28 Beyond Napster: Popular Music and the Normal Internet |
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493 | (20) |
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| Part VIII Technology |
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509 | (54) |
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29 Phonography and the Recording in Popular Music |
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513 | (19) |
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30 Ghosts of Electricity: Amplification |
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532 | (17) |
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31 Ubiquitous Musics: Technology, Listening and Subjectivity |
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549 | (18) |
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| Part IX Digital Economies |
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563 | (66) |
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32 Modes of Production: The Value of Modal Analysis for Popular Music Studies |
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567 | (17) |
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33 Music, Copies and Essences |
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584 | (14) |
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34 Authorship, Ownership and Musical Appropriation |
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598 | (15) |
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35 Music Cartels and the Dematerialization of Power |
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613 | (16) |
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| Index |
|
629 | |
Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University and previously held academic positions in the UK and Canada. His areas of research specialism include youth culture, popular music scenes, history and heritage, local music industries, DIY culture and practice and qualitative research methods. He has written and edited numerous books including Popular Music and Youth Culture, Music, Style and Aging, British Progressive Pop 1970 1980 and Music Scenes (co-edited with Richard A. Peterson). He is a member of the International Association for the Study of Popular Music (IASPM) and a former Chair of the UK and Ireland IASPM branch. In 1999 he co-founded the British Sociological Association Youth Study Group. He is also a member of The Australian Sociological Association (TASA) and former Editor in Chief of the Journal of Sociology. He is a Faculty Fellow of the Yale Center for Cultural Sociology, an Adjunct of the Institute of Sociology at the University of Porto, an International Research Fellow of the Finnish Youth Research Network, a founding member of the Consortium for Youth, Generations and Culture and a founding member of the Regional Music Research Group. He is also co-founder of KISMIF, a biennial conference focusing on DIY cultures and practice. Steve Waksman is Professor of Music and American Studies at Smith College, Massachusetts, USA. His works include the books Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 1999), and This Aint the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (University of California Press, 2009), the latter of which was awarded the 2010 Woody Guthrie Award for best scholarly book on popular music by the US chapter of the International Association for the Study of Popular Music. With Reebee Garofalo he co-authored the sixth edition of Rockin Out: Popular Music in the U.S.A. (Pearson, 2013). His essays have appeared in Guitar Cultures, The Cambridge Companion to the Guitar, Listen Again: A Momentary History of Pop, and Metal Rules the Globe: Heavy Metal Music Around the World. Currently he is researching a book on the cultural history of live music and performance in the US, tentatively titled Live Music in America: A History, 18502000.
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