A stimulating and penetrating study of rock music, from rock 'n' roll to the present day.
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.
This volume gathers together twenty articles from among the best scholarly writing on rock music published in academic journals over the past two decades. These diverse essays reflect the wide range of approaches that scholars in various disciplines have applied to the study of rock, from those that address mainly the historical, sociological, cultural and technological factors that gave rise to this music, to those that focus primarily on analysis of the music itself. This collection of articles, some of which are now out of print or otherwise difficult to access, provides an overview of the current state of research in the field of rock music, and includes an introduction which contributes to the ongoing debate over the distinction (or lack thereof) between ?rock? and ?pop?.
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.
In "Performing Rites," one of the most influential writers on popular music asks what we talk about when we talk about music. Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject--and discloses their place at the very center of the aesthetics that structure our culture and color our lives.
Music is an accumulation of mediators: instruments, languages, sheets, performers, scenes, media and so on. There is no musical object ?in itself?; music must always be made again. In this innovative book, Hennion turns the elusiveness of music into a resource for a pragmatic analysis: by which collective process do we make music appear among us? Rather than offering a sociology of music, The Passion for Music listens to the lesson provided by the case of music - this art of infinite mediations. Learning from music allows us to transform the paradigm to be offered by sociology, by confronting it (from Durkheim and Weber to Bourdieu) with a different way of considering objects. For this task, Hennion draws on aesthetics (Adorno) and art history (Haskell, Baxandall), as well as science and technology studies and popular music studies (Latour, Frith, DeNora). As part of that project, The Passion for Music presents a wide-ranging series of case studies, restoring attention to the rich and varied intermediaries through which music is brought to life: from the debate around the reinterpretation of baroque music, to the classroom, the rock scene, the classical music concert, Bach?s ?social career? in the nineteenth and twentieth centuries, and the practices of music ?amateurs? today. This is the first English translation of one of the most important works of French scholarship on music and society.
From the late-1970s to the late-1980s rock music in Yugoslavia had an important social and political purpose of providing a popular cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of life in Yugoslav society. The three music movements that emerged in this period - New Wave, New Primitives, and New Partisans - employed the understanding of rock music as the 'music of commitment' (i.e. as socio-cultural praxis premised on committed social engagement) to articulate the critiques of the country's 'new socialist culture', with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This book offers an analysis of the three music movements and their particular brand of 'poetics of the present' in order to explore the movements' specific forms of socio-cultural engagement with Yugoslavia's 'new socialist culture' and demonstrate that their cultural praxis was oriented towards the goal of realizing the genuine Yugoslav socialist-humanist community 'in the true measure of man'. Thus, the book's principal argument is that the driving force behind the music of commitment was, although critical, a fundamentally constructive disposition towards the progressive ideal of socialist Yugoslavia.
DIVAn account of the Black Rock Coalition, which began in New York in 1985, and its relation to the results of civil rights era integration, and to the larger questions of racialization in the music industry, and American society./div
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.
Experiencing disco, hip hop, house, techno, drum 'n' bass and garage, Discographies plots a course through the transatlantic dance scene of the last last twenty-five years. It discusses the problems posed by contemporary dance culture of both academic and cultural study and finds these origins in the history of opposition to music as a source of sensory pleasure. Discussing such issues as technology, club space. drugs, the musical body, gender, sexuality and pleasure, Discographies explores the ecstatic experiences at the heart of contemporary dance culture. It suggests why politicians and agencies as diverse as the independent music press and public broadcasting should be so hostile to this cultural phenomenon.
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.
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?
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.
"Gracyk grapples with the ways that rock shapes--limits and expands--our notions of who we can be in the world. [He] sees rock as a mass art, open-ended and open to diverse (but not unlimited) interpretations. Recordings reach millions, drawing people together in communities of listeners who respond viscerally to its sound and intellectually to its messages. As an art form that proclaims its emotional authenticity and resistance to convention, rock music constitutes part of the cultural apparatus from which individuals mold personal and political identities. Going to the heart of this relationship between the music's role in its performers' and fans' self-construction, Gracyk probes questions of gender and appropriation. How can a feminist be a Stones fan or a straight man enjoy the Indigo Girls? Does borrowing music that carries a "racial identity" always add up to exploitation, a charge leveled at Paul Simon's Graceland? Rang[es] through forty years of rock history and offer[s] a trove of anecdotes"--Publisher description.
Rockin' Out offers a comprehensive history of popular music in the United States from the heyday of Tin Pan Alley to the present day sounds of electronic dance music and teen pop, from the invention of the phonograph to the promise of the Internet. It offers an analysis and critique of the music itself as well as how it is produced and marketed.
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
Geek Rock: An Exploration of Music and Subculture examines the relationship between geek culture and popular music, tracing a history from the late 1960s to the present day. This collection of essays explores the evolution of “geek rock” from songs about cars and girls to monster movies, outer space, and what it means to be “white and nerdy.”