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The first book of its kind, Gender & Rock introduces readers to how gender operates in multiple sites within rock culture, including its music, lyrics, imagery, performances, instruments, and business practices. Additionally, it explores how rock culture, despite a history of regressive gender politics, has provided a place for musicians and consumers to experiment with alternate identities and ways of being. Drawing on feminist and queer scholarship in popular music studies, musicology, cultural studies, sociology, performance studies, literary analysis, and media studies, Gender & Rock provides readers with a survey of the topics, theories, and methods necessary for understanding and conducting analyses of gender in rock culture. Via an intersectional approach, the book examines how the gendering of particular roles, practices, technologies, and institutions within rock culture is related to discourses of race, sexuality, age, and class.
Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, and how popular music informs ’literary’ writing in diverse ways. The collection features musicologists, literary critics, experts in cultural studies, and creative writers, organised in three themed sections. ’Making Litpop’ explores how hybrids of writing and popular music have been created by musicians and authors. ’Thinking Litpop’ considers what critical or intellectual frameworks help us to understand these hybrid cultural forms. Finally, ’Consuming Litpop’ examines how writers deal with music’s influence, how musicians engage with literary texts, and how audiences of music and writing understand their own role in making ’Litpop’ happen. Discussing a range of genres and periods of writing and popular music, this unique collection identifies, theorizes, and problematises connections between different forms of expression, making a vital contribution to popular musicology, and literary and cultural studies.
First published in 2006. Routledge is an imprint of Taylor & Francis, an Informa company.
Women and Popular Music explores the changing role of women musicians and the ways in which their songs resonate in popular culture. Sheila Whiteley begins by examining the counter-culture's reactionary attitudes to women through the lyrics of The Beatles and The Rolling Stones. She explores the ways in which artists like Joplin and Joni Mitchell confronted issues of sexuality and freedom, redefining women's participation in the industry, and assesses the personal cost of their achievements. She considers how stars such as Annie Lennox, Madonna and k.d. lang have confronted issues of gender stereotyping and sexuality, through pop videos for 'Justify My Love' and 'Sweet Dreams (Are Made of This)', and looks at the enduring importance of the singer-songwriter through artists such as Tracey Chapman. Lastly, she assesses the contribution of contemporary artists including Tori Amos, P.J. Harvey and Courtney Love, and asks whether the Spice Girls are just a 'cartoon feminist pop group' or if they provide positive role models for teenage girls.
Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 1, Global Perspectives in Popular Music Studies, situates popular music studies within global perspectives and geocultural settings at large. It offers over nine hundred in-depth annotated bibliographic entries of interdisciplinary research and several topical categories that include analytical, critical, and historical studies; theory, methodology, and musicianship studies; annotations of in-depth special issues published in scholarly journals on different topics, issues, trends, and music genres in popular music studies that relate to the contributions of numerous musicians, artists, bands, and music groups; and annotations of selected reference works.
Simon Frith has been one of the most important figures in the emergence and subsequent development of popular music studies. From his earliest academic publication, The Sociology of Rock (1978), through to his recent work on the live music industry in the UK, in his desire to ’take popular music seriously’ he has probably been cited more than any other author in the field. Uniquely, he has combined this work with a lengthy career as a music critic for leading publications on both sides of the Atlantic. The contributions to this volume of essays and memoirs seek to honour Frith’s achievements, but they are not merely ’about Frith’. Rather, they are important interventions by leading scholars in the field, including Robert Christgau, Antoine Hennion, Peter J. Martin and Philip Tagg. The focus on ’sociology and industry’ and ’aesthetics and values’ reflect major themes in Frith’s own work, which can also be found within popular music studies more generally. As such the volume will become an essential resource for those working in popular music studies, as well as in musicology, sociology and cultural and media studies.
The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.
This is the first ethnographic study of women's popular music-making. It is based on over 100 in-depth interviews as well as participant observation by the author, a sociologist, who has herself played in various bands since punk. Bayton covers the period from the late 1970s until the mid 1990s, focusing mainly on women instrumentalists in female and mixed bands. Amongst others, interviewees include Skin from Skunk Anansie, Debbie Smith from Echobelly, Candida Doyle from Pulp, Gail Greenwood from Belly and L7, Natasha Atlas from Transglobal Underground, and Vie Subversa from Poison Girls. Although female vocalists have always been common, women playing instruments in bands are still proportionally rare. Frock Rock explores the social factors that keep women from playing and those routes that have enabled women's involvement. The book then examines the everyday worlds of women's music-making from bands just starting up to the professional stage: songwriting, rehearsing, the first gig, getting a manager, record companies, recording, and touring. Easy to read and packed with fascinating quotes, Frock Rock makes an invaluable contribution to the field of popular music studies and will become a key text in cultural studies, media studies, women's studies, and sociology of culture courses.
A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music.
Through an examination of her music, videos, philanthropic work, and biographical details, this book gives insight into Alanis Morissette's musical career and day-to-day life, from her early pop beginnings in Canada to her work today. As a whole, Alanis Morissette's work has never been critically analyzed. The Words and Music of Alanis Morissette addresses this oversight through its examination of Morissette's work in the context of biographical facts, its relationship to other cultural trends, and its reflection of the female perspective. This book merges biographical information with a critical examination of the music that she produced and performed during all periods of her life, thereby providing a needed overview of Morissette's body of work. All Morissette fans will appreciate learning about the details of her life, but the author's melding of the star's personal life story with an informed analysis of popular music will also appeal to a wider audience—readers interested in music, culture, women's studies, or female musicians, for example. The book provides entertaining and engrossing reading for any Alanis Morissette fan and serves as a resource that documents her broad contributions to the music industry.