Popular Music: Music and identityPopular music studies is a rapidly expanding field with changing emphases and agendas. The music industry has changed in recent years, as has governmental involvement in popular music schemes as part of the culture industry. The distinction between the major record labels and the outsider independents has become blurred over time. Popular music, as part of this umbrella of the culture industry, has been progressively globalized and globalizing. The tensions within popular music are now no longer between national cultural identity and popular music, but between the local and the global. This four volume collection examines the changing status of popular music against this background. Simon Frith examines the heritage of popular music, and how technology has changed not only the production but the reception of this brand of sound. The collection examines how the traditional genres of rock, pop and soul have broken down and what has replaced them, as well as showing how this proliferation of musical styles has also splintered the audience of popular music. |
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Contents
Music and socialbility | 5 |
Let all the world hear all the worlds music popular musicmaking and music education | 7 |
Towards an aesthetic of popular music | 32 |
Pathways in urban living | 48 |
Systems of articulation logic of change communities and scenes in popular music | 79 |
Place exchange and meaning Black Sea musicians in the West of Ireland | 101 |
Music nationality and imagined community | 117 |
Honky Tonk the music of the Southern working class | 119 |
Contando la Cama Vacia love sexuality and gender relationships in Dominican Bachata | 209 |
Somos el Peru Cumbia Andina and the children of Andean Migrants in Lima | 231 |
Nationalism on stage music and change in Soviet Ukraine | 249 |
Fantasies of home The antinomies of modernity and the music of Ladysmith Black Mambazo | 266 |
Music modernity and postmodernity | 283 |
The search for Petula Clark | 285 |
Modern music culture on shock pop and synthesis | 293 |
Cruising around the historical bloc Postmodernism and popular music in East Los Angeles | 324 |
Paul Simons Graceland South Africa and the mediation of musical meaning | 126 |
My love is in America migration and Irish music | 164 |
Sounds authentic Black Music ethnicity and the challenge of a changing same | 182 |
Ethnomusicology | 207 |
Common terms and phrases
activity aesthetic alternative American Angeles artists associated audience authenticity bachata band become called collaboration collective complex concerned contemporary context continue create critical cultural dance defined discussion distinct dominant early economic effects emigration ethnic example experience expression fact feeling festival forms genre Graceland groups hip hop historical idea identity important included individual industry interest involved Irish kind language listeners lives London meaning migrant moves musicians nationalist notes organization participants particular pathways performance play players political popular music position postmodern practice present Press production question record reference relations relationship represented rock sense shared significant Simon singers social society songs sound South African Soviet space specific structure style success suggests tion traditional Ukrainian understand University urban Western White women York
Bibliographic information
| Title | Popular Music: Music and identity Volume 4 of Critical concepts in media and cultural studies, Simon Frith, ISBN 0415299055, 9780415299053 Volume 4 of Popular Music, Simon Frith, ISBN 0415299055, 9780415299053 |
| Editor | Simon Frith |
| Contributor | Simon Frith |
| Edition | illustrated |
| Publisher | Psychology Press, 2004 |
| ISBN | 0415332702, 9780415332705 |
| Length | 382 pages |
| Export Citation | BiBTeX EndNote RefMan |