Introduction - Andy Bennett and Steve Waksman
SECTION 1: Theory and Method - Introduction by Andy Bennett
The Many Worlds of Popular Music: Ethnomusicological - Kevin
Dawe
Notes on Sociological Theory and Popular Music Studies - Motti
Regev
Waiting for the Great Leap Forwards: Mixing Pop, Politics - Gilbert
B. Rodman
(Re)Generations of Popular Musicology - Serge Lacasse
Archival Research and the Expansion of Popular Music - Christine
Feldman-Barratt
SECTION 2: The Business of Popular Music - Introduction by Steve
Waksman
Power, Production and the Pop Process - Reebee Garofalo
Intermediaries and Intermediation - Devon Powers
Popular Musical Labor in North America - Matt Stahl
Music in Advertising in the U.S.: History and Issues - Timothy D.
Taylor
SECTION 3: Popular Music History - Introduction by Steve
Waksman
Grinding out Hits at the Song Factory - Keir Keightley
Popular Music Genres: Aesthetics, Commerce and Identity - David
Brackett
Live Music History - Matt Brennan
SECTION 4: The Global and the Local - Introduction by Andy
Bennett
Observations on African, African-American, Middle Eastern - Tony
Mitchell
Electronic Dance Music Cultures, Ritualization and the Case -
Graham St. John
“Everything Louder than Everyone Else’: The Origins and Persistence
of Heavy Metal and Its Global Cultural Impact - Andy Brown
Punk Rock Globalization - Ross Haenfler
SECTION 5: The Star System - Introduction by Steve Waksman
Rock Stars as Icons - David Shumway
Everybody’s in Show Biz: Performing Star Identity in Popular Music
- Philip Auslander
Midnight Ramblers and Material Girls: Gender and Stardom in Rock
and Pop - Jacqueline Warwick
Dark Cosmos: Making Race, Shaping Stardom - C. Riley Snorton
SECTION 6: Body and Identity - Introduction by Andy Bennett
Blurred lines, gender and Popular Music - Sheila Whiteley
Popular Music, Race and Identity - Jon Stratton
Dancing the Popular: The Expressive Interface of Bodies, Sound and
Motion - Sherril Dodds
Shaping the Past of Popular music: Memory, Forgetting and
Documenting - Catherine Strong
SECTION 7: Media - Introduction by Andy Bennett
In Print and On Screen: The Changing Character of Popular Music
Journalism - Simon Warner
Sight and Sound in Concert? The Interrelationship Between Music and
Television - Tim Wall and Paul Long
Viewing with Your Ears, Listening With Your Eyes: Synching Popular
Music and Cinema - Scott Henderson
Beyond Napster: Popular Music and the ‘Normal’ Internet - Nick
Prior
SECTION 8: Technology - Introduction by Steve Waksman
Phonography and the ‘Recording’ in Popular Music - Patrick
Feaster
Ghosts of Electricity: Amplification - Peter Doyle
Ubiquitous Musics: Technology, Listening, and Subjectivity - Anahid
Kassabian
SECTION 9: Digital Economies - Introduction by Steve Waksman
Modes of Production: The Value of Modal Analysis for Popular Music
Studies - Tim Anderson
Music, Copies and Essences - Joanna Demers
Authorship, Ownership, and Musical Appropriation - Kembrew
McLeod
Music Cartels and the Dematerialization of Power - Aram Sinnreich
Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University and previously held academic positions in the UK and Canada. His areas of research specialism include youth culture, popular music scenes, history and heritage, local music industries, DIY culture and practice and qualitative research methods. He has written and edited numerous books including Popular Music and Youth Culture, Music, Style and Aging, British Progressive Pop 1970 – 1980 and Music Scenes (co-edited with Richard A. Peterson). He is a member of the International Association for the Study of Popular Music (IASPM) and a former Chair of the UK and Ireland IASPM branch. In 1999 he co-founded the British Sociological Association Youth Study Group. He is also a member of The Australian Sociological Association (TASA) and former Editor in Chief of the Journal of Sociology. He is a Faculty Fellow of the Yale Center for Cultural Sociology, an Adjunct of the Institute of Sociology at the University of Porto, an International Research Fellow of the Finnish Youth Research Network, a founding member of the Consortium for Youth, Generations and Culture and a founding member of the Regional Music Research Group. He is also co-founder of KISMIF, a biennial conference focusing on DIY cultures and practice. Steve Waksman is Professor of Music and American Studies at Smith College, Massachusetts, USA. His works include the books Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Harvard University Press, 1999), and This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (University of California Press, 2009), the latter of which was awarded the 2010 Woody Guthrie Award for best scholarly book on popular music by the US chapter of the International Association for the Study of Popular Music. With Reebee Garofalo he co-authored the sixth edition of Rockin’ Out: Popular Music in the U.S.A. (Pearson, 2013). His essays have appeared in Guitar Cultures, The Cambridge Companion to the Guitar, Listen Again: A Momentary History of Pop, and Metal Rules the Globe: Heavy Metal Music Around the World. Currently he is researching a book on the cultural history of live music and performance in the US, tentatively titled Live Music in America: A History, 1850–2000.
The Sage Handbook of Popular Music is a comprehensive,
smartly-conceived volume that can take its place as the new
standard textbook in popular music. The editors have shown
great care in covering classic debates while moving the field into
new, exciting areas of scholarship. International in its
focus and pleasantly wide-ranging across historical periods, the
Handbook is accessible to students but full of material of interest
to those teaching and researching in the field.
*Will Straw*
Celebrating the maturation of popular music studies and recognizing
the immense changes that have recently taken place in the
conditions of popular music production, the Sage Handbook of
Popular Music features contributions from many of the leading
scholars in the field. Every chapter is well defined and to the
point, with bibliographies that capture the history of the field.
Authoritative, expertly organized and absolutely up-to-date, this
collection will instantly become the backbone of many courses
across the Anglophone world and is certain to be cited for years to
come.
*Barry Shank*
The editors have enlisted a diverse cadre of contributors in terms
of gender, profession, or stage in their academic careers, making
for a refreshing reading experience when approaching the work
straight through. Highly recommended.
*V.J. Novara, University of Maryland*
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