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The Ashgate Research Companion to Popular Musicology


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Table of Contents

Contents: Introduction, Derek B. Scott; Part 1 Film, Video and Multimedia: Trevor Jones's score for In the Name of the Father, David Cooper; Music, sound and the moving image: the present and a future?, Anahid Kassabian; Reinventing Question Time, Miguel Mera; Televised live performance, looping technology and the 'nu folk': KT Tunstall on Later...with Jools Holland, John Richardson. Part 2 Technology and Studio Production: Learning to listen to perfect sound: hi-fi culture and changes in modes of listening, 1950-80, Alf Bjornberg; Approaches to analysing recordings of popular music, Timothy Warner; The art of phonography: sound, technology and music, Peter Wicke. Part 3 Gender and Sexuality: Genre, subjectivity and backup singing in rock music, Susan Fast; Notes on musical camp, Freya Jarman-Ivens; Who are you? Research strategies of the unruly feminine, Sheila Whiteley; 'I'm a man': masculinities in popular music, Jason Lee Oakes. Part 4 Identity and Ethnicity: The woven world: unravelling the mainstream and the alternative in Greek popular music, Kevin Dawe; Dayton street funk: the layering of multiple identities, Portia K. Maultsby; Black, white and brown on the dance floor: the new meanings of panjabiyat in the 21st century, Anjali Gera Roy. Part 5 Performance and Gesture: Musical persona: the physical performance of popular music, Philip Auslander; Vocal performance and the projection of emotional authenticity, Nicola Dibben; 'Chelsea Rodgers' was a model - vocality in Prince of the 21st century, Stan Hawkins; Singing style and white masculinity, Jacqueline Warwick; Talking music, making music: a comparison between Rap and Techno, Antoine Hennion. Part 6 Reception and Scenes: Absolute beginners: the evolution of a British popular music scene, Ian Inglis; Studying reception and scenes, Adam Krims; Interpretation: so what?, Allan F. Moore; Beyond the master narrative of youth: researching ageing popular music scenes, Nicola Smith. Part 7 The Music Industry and Globalization: Music and the creative knowledge economy, Geraldine Bloustien; The transnational music industry, Andreas Gebesmair; Pop idol: global economy - local meanings, Tarja Rautiainen- Keskustalo; Bibliography; Index.

About the Author

Derek B. Scott is Professor of Critical Musicology and Head of the School of Music at the University of Leeds, UK. Contributors: Derek B. Scott, David Cooper, Anahid Kassabian, Miguel Mera, John Richardson, Alf Bjornberg, Timothy Warner, Peter Wicke, Freya Jarman-Ivens, Sheila Whiteley, Jason Lee Oakes, Kevin Dawe, Portia K. Maultsby, Anjali Gera Roy, Philip Auslander, Nicola Dibben, Stan Hawkins, Jacqueline Warwick, Antoine Hennion, Adam Krims, Allan F. Moore, Nicola Smith, Geraldine Bloustien, Andreas Gebesmairand, Tarja Rautiainen-Keskustalo.


Prize: A Choice Outstanding Academic Title for 2010 'A cornucopian tome, containing more methodological diversity than any one scholar is likely to think necessary. It enlarges the compass of popular music studies and draws our attention to generative topics and tactics.' Robert Walser, University of California, Los Angeles 'Impressive in its scope, the Ashgate Research Companion to Popular Musicology makes a much-needed contribution to the scholarly literature on popular music. Especially noteworthy is the explication and exploration of the field of Popular Musicology, with its simultaneous emphasis on the textuality of music and critical method. These essays argue convincingly that the details of musical sound do matter, and that these details are integral to cultural meaning. Derek B. Scott is to be commended for bringing together such a diverse and distinguished group of scholars'. David Brackett, McGill University, Canada 'With this substantial collection, Scott solves a Herculean problem long evident in popular-music scholarship: where does one go for a thorough rethinking of this body of work? Although the seven sections of the collection are on seemingly disparate themes, the relationships among these themes are apparent in the outstanding work in each essay. ... These ideas are all welcome at a time when popular-music scholarship is in danger of stagnation and fragmentation. Summing Up: Highly Recommended.' Choice 'The material in this book is pretty much essential to any popular music scholar, regardless of disciplinary background. If your library hasn't already ordered this volume, request it now.' Popular Music

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