A stimulating and penetrating study of rock music, from rock 'n' roll to the present day.
Beginning with an analysis of cultural themes and ending with a discussion of evolving and expanding political and corporate institutions, The Columbia History of Post-World War II America addresses changes in America's response to the outside world; the merging of psychological states and social patterns in memorial culture, scandal culture, and consumer culture; the intersection of social practices and governmental policies; the effect of technological change on society and politics; and the intersection of changing belief systems and technological development, among other issues. Many had feared that Orwellian institutions would crush the individual in the postwar era, but a major theme of this book is the persistence of individuality and diversity. Trends toward institutional bigness and standardization have coexisted with and sometimes have given rise to a countervailing pattern of individualized expression and consumption. Today Americans are exposed to more kinds of images and music, choose from an infinite variety of products, and have a wide range of options in terms of social and sexual arrangements. In short, they enjoy more ways to express their individuality despite the ascendancy of immense global corporations, and this volume imaginatively explores every facet of this unique American experience.
An interdisciplinary bibliography, this one volume covers rock music publications by discipline and eliminates the need to use disparate sources. It covers 10 subject areas, is annotated, and provides detailed subject and author indexes.
This anthology, appropriate for introductory aesthetics and philosophy of art courses, includes comprehensive coverage of traditional material as well as substantial inclusion of contemporary and non-Western readings. Readings from popular culture entice students into the study of aesthetics and motivate them to learn more. The organization of the text is also student-oriented, with chapters that pose such questions as What Is Art? and Should We Focus on Form?
The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods. Contributors to the volume were asked to write something original and, at the same time, to provide an instructive example of a particular way of working and thinking. The essays have been written with a view to helping graduate students with research methodology and the application of relevant theoretical models. The team of contributors is an exceptionally strong one: it contains many of the pre-eminent academic figures involved in popular musicological research, and there is a spread of European, American, Asian, and Australasian scholars. The volume covers seven main themes: Film, Video and Multimedia; Technology and Studio Production; Gender and Sexuality; Identity and Ethnicity; Performance and Gesture; Reception and Scenes and The Music Industry and Globalization. The Ashgate Research Companion is designed to offer scholars and graduate students a comprehensive and authoritative state-of-the-art review of current research in a particular area. The companion's editor brings together a team of respected and experienced experts to write chapters on the key issues in their speciality, providing a comprehensive reference to the field.
In this book, native popular musicologists focus on their own popular music cultures from Germany, Austria and Switzerland for the first time: from subcultural to mainstream phenomena; from the 1950s to contemporary acts. Starting with an introduction and two chapters on the histories of German popular music and its study, the volume then concentrates on focused, detailed and yet concise close readings from different perspectives (including particular historical East and West German perspectives), mostly focusing on the music and its protagonists. Moreover, these analyses deal with very original specific genres such as Schlager and Krautrock as well as transcultural genres such as Punk or Hip Hop. There are additional chapters on characteristically German developments within music media, journalism and the music industry. The book will contribute to a better understanding of German, Austrian and Swiss popular music, and will interconnect international and especially Anglo-American studies with German approaches. The book, as a consequence, will show close connections between global and local popular music cultures and diverse traditions of study.
Rather than divide this period into such traditional categories as "women," "television," and "politics," contributors take a cross-topical approach that emphasizes the interconnectedness of American life and society.Beginning with an analysis of cultural themes and ending with a discussion of evolving and expanding political and corporate institutions, these essays address changes in America's response to the outside world; the merging of psychological states and social patterns in memorial culture, scandal culture, and consumer culture; the intersection of social practices and governmental policies; the effect of technological change on society and politics; and the intersection of changing belief systems and technological development, among other issues.Many had feared that Orwellian institutions would crush the individual in the postwar era, but a major theme of this book is the persistence of individuality and diversity
Pop music and rock music are often treated as separate genres but the distinction has always been blurred. Motti Regev argues that pop-rock is best understood as a single musical form defined by the use of electric and electronic instruments, amplification and related techniques. The history of pop-rock extends from the emergence of rock'n'roll in the 1950s to a variety of contemporary fashions and trends – rock, punk, soul, funk, techno, hip hop, indie, metal, pop and many more. This book offers a highly original account of the emergence of pop-rock music as a global phenomenon in which Anglo-American and many other national and ethnic variants interact in complex ways. Pop-rock is analysed as a prime instance of 'aesthetic cosmopolitanism' – that is, the gradual formation, in late modernity, of world culture as a single interconnected entity in which different social groupings around the world increasingly share common ground in their aesthetic perceptions, expressive forms and cultural practices. Drawing on a wide array of examples, this path-breaking book will be of great interest to students and scholars in cultural sociology, media and cultural studies as well as the study of popular music.
"The author's style is breezy and likable, but many of his references to Australian music and sports concepts and studies will be unfamiliar to readers in the U.S. The latter fact may be a good reason for reading the book, as means of testing the generality of accepted thought about sport and music." --Choice "Relentlessly intelligent, at once critical and respectful of its subjects, and carefully documented, David Rowe's book is especially useful for working through the bipolar opposition between theories of power and theories of resistance, between large-scale political economic domination and localized oppositional readings. Forceful and pointed, yet accepting a degree of inconclusiveness, Rowe works through the complete range of relevant theoretical formulations and conflicting real-world forces. Rowe's theoretical sophistication is a godsend. He knows and enjoys the pleasures of his subjects but examines them with demanding originality. Never content with the easy or the obvious, this work marks a significant advance in cultural theory and application. Popular Cultures places David Rowe in the first-rank of cultural theorists." --Michael Real, Telecommunications and Film Department, San Diego State University Rock music and sport are the pulse of Popular Cultures, a fascinating examination of the interrelations between economics, ideology, and culture. This book gives the reader a unique insight into the dynamics of rock music and sport, discussing how they encompass the contradictory elements of popular culture. Using punk rock music as a case study, author David Rowe analyzes it in terms of production, practical consciousness, and symbolic expression--a blending of cultural studies and political economy. Using rock music and sport as case studies, the author effectively combines economics, culture, and popular forms of recreation. Thus, this book is essential reading for students and researchers in popular culture, cultural studies, leisure studies, sociology, communication, and related fields of study.
This collection of essays, written by leading musicologists and music theorists specializing in popular music, presents a wide range of scholarly approaches to understanding artistic expression in rock music.