Featuring over 100 readings from a wide range of sources and writers, The Pop, Rock, and Soul Reader, Third Edition, provides a rich and engaging introduction to the development of American popular music and the important social and cultural issues raised by its study. The third edition brings together a vast array of selections from sources that include mainstream and specialized magazines, newspapers, scholarly journals, interviews, and autobiographies of musicians and other music industry insiders, plus ten new readings on timely topics such as: * The emerging influence of digital technology like autotune and filesharing on popular music * The integration of popular music and reality TV through shows like American Idol * Lady Gaga's meteoric rise to fame and its inextricable link to new media * A retrospective look at and reevaluation of Michael Jackson's long career * The global impact of legendary artist Bob Marley and reggae Visit the companion website at www.oup.com/us/brackett for additional study resources.
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- Author : Starr
- Publisher : Unknown
- Release Date : 2006-05-01
- Genre : Music
- Pages : 231
- ISBN : 0195315782
Categorizing Sound addresses the relationship between categories of music and categories of people, particularly how certain ways of organizing sounds becomes integral to how we perceive ourselves and how we feel connected to some people and disconnected from others. Presenting a series of case studies ranging from race music and old-time music of the 1920s through country and R&B of the 1980s, David Brackett explores the processes by which genres are produced. Using in-depth archival research and sophisticated theorizing about how musical categories are defined, Brackett has produced a markedly original work.
The Rock History Reader is an eclectic compilation of readings that tells the history of rock as it has been received and explained as a social and musical practice throughout its six decade history. The readings range from the vivid autobiographical accounts of such rock icons as Ronnie Spector and David Lee Roth to the writings of noted rock critics like Lester Bangs and Chuck Klosterman. It also includes a variety of selections from media critics, musicologists, fanzine writers, legal experts, sociologists and prominent political figures. Many entries also deal specifically with distinctive styles such as Motown, punk, disco, grunge, rap and indie rock. Each entry includes headnotes, which place it in its historical context. This second edition includes new readings on the early years of rhythm & blues and rock 'n' roll, as well as entries on payola, mods, the rise of FM rock, progressive rock and the PMRC congressional hearings. In addition, there is a wealth of new material on the 2000s that explores such relatively recent developments as emo, mash ups, the explosion of internet culture and new media, and iconic figures like Radiohead and Lady Gaga. With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures, and the meaning of musical value, The Rock History Reader continues to appeal to scholars and students from a variety of disciplines.
Metalepsis refers to the crossing of boundaries between fiction and reality in narratives. This volume provides a systematic overview of metalepsis, its types and effects, in popular culture. The contributions discuss popular fiction, fan fiction, pop lyrics, comics, films, animated cartoons, music videos, live performances and TV series from the turn of the 20th century to the present day. Metalepsis in Popular Culture introduces the rhetorical concept of metalepsis and applies it to contemporary popular culture, thereby demonstrating its importance for the negotiation of fact and fiction in our cultural world.
Rock and roll. Those three words are understood by people in almost every nation on Earth. They describe a type of music and an attitude that made history and continues to change the musical landscape. Readers will learn that the music style started out in the United States as a new type of dance music for teenage baby boomers during the mid-1950s. By the 1960s, the music transformed the cultural and political landscape of much of the world. Never before in history has a style of music come along that so quickly and so completely changed the world. Author Stuart Kallen traces the history of rock and roll from its early 1950s beginnings through its most significant developments to date.
For many people, popular music provides a soundtrack to their lives by entwining emotion with experience. It is little wonder, then, that eventful periods in American history are often defined by the pop music of the time. For example, big band jazz evokes memories of World War II for those who lived through that era, while songs from the 1960s often remind baby boomers of the drug-fueled hippie revolution. Author Stuart Kallen traces the history of popular music in America from the sounds of Tin Pan Alley to Chicago jazz clubs, to southern rock n' roll and country, to the British Invasion, to psychedelic rock and Woodstock, to garage band heroes and music video rock stars, to hip-hop tycoons and young American idols.
For two decades after rock music emerged in the 1940s, the American Federation of Musicians (AFM), the oldest and largest labor union representing professional musicians in the United States and Canada, refused to recognize rock 'n' roll as legitimate music or its performers as skilled musicians. The AFM never actively organized rock 'n' roll musicians, although recruiting them would have been in the union's economic interest. In Tell Tchaikovsky the News, Michael James Roberts argues that the reasons that the union failed to act in its own interest lay in its culture, in the opinions of its leadership and elite rank-and-file members. Explaining the bias of union members—most of whom were classical or jazz music performers—against rock music and musicians, Roberts addresses issues of race and class, questions of what qualified someone as a skilled or professional musician, and the threat that records, central to rock 'n' roll, posed to AFM members, who had long privileged live performances. Roberts contends that by rejecting rock 'n' rollers for two decades, the once formidable American Federation of Musicians lost their clout within the music industry.
"Categorizing Sound addresses the relationship between categories of music and categories of people: in other words, how do particular ways of organizing sound become integral parts of whom we perceive ourselves to be and of how we feel connected to some people and disconnected from others? After an introduction that discusses the key theoretical concepts to be deployed, Categorizing Sound presents a series of case studies that range from foreign music, race music, and old-time music in the 1920s up through country and rhythm and blues in the 1980s. Each chapter focuses not so much on the musical contents of these genres as on the process of 'gentrification' through which these categories are produced."--Provided by publisher.
This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.
Drawn from a mosaic of influences, including folk, gospel, and blues, R&B represents both everything that came before and nothing that was heard before. This is the music that bridged the gap between audiences and helped, at the very height of racism in America, to dismantle racial barriers. So much of today's music is derived directly from the highly influential and critically important sounds of R&B that without it we would have never known the classic soul of the late '50s and '60s, the glory days of the genre. Similarly, rock n' roll as seen through the eyes of Bill Haley and Elvis Presley would have never evolved without the foundation laid by their R&B predecessors. Through substantial entries on the chief architects and innovators, Icons of R&B and Soul offers a vibrant overview of the music's impact in American culture and how it reflected contemporary society's politics, trends, and social issues. Numerous sidebars highlight Motown, prominent record labels, hit songs, related singers and songwriters, key events, and significant aspects of the music industry. Also included is a list of important print and Web resources, as well as a list of selected recordings. An essential reference for high school and public libraries, this encyclopedia will help students explore the historical and cultural framework of R&B and soul music through the musicians who have come to define the genre. Among the featured: -Ray Charles -Little Richard -Fats Domino & New Orleans R&B -Ruth Brown -Sam Cooke -Etta James -James Brown -Aretha Franklin -The Supremes -Otis Redding -Ike & Tina Turner -Curtis Mayfield -Berry Gordy -Stevie Wonder -Marvin Gaye -Smokey Robinson -The Temptations -Prince
The essays contained in this volume address some of the most visible, durable and influential of African American musical styles as they developed from the mid-1960s into the 21st-century. Soul, funk, pop, R&B and hip hop practices are explored both singly and in their many convergences, and in writings that have often become regarded as landmarks in black musical scholarship. These works employ a wide range of methodologies, and taken together they show the themes and concerns of academic black musical study developing over three decades. While much of the writing here is focused on music and musicians in the United States, the book also documents important and emergent trends in the study of these styles as they have spread across the world. The volume maintains the original publication format and pagination of each essay, making for easy and accurate cross-reference and citation. Tom Perchard?s introduction gives a detailed overview of the book?s contents, and of the field as a whole, situating the present essays in a longer and wider tradition of African American music studies. In bringing together and contextualising works that are always valuable but sometimes difficult to access, the volume forms an excellent introductory resource for university music students and researchers.
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) betweenrock andpop.
Popular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category. What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and the NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto-industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins.
When Genres Collide is a provocative history that rethinks the relationship between jazz and rock through the lens of the two oldest surviving and most influential American popular music periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke Ellington argued that the new music called rock 'n' roll “is the most raucous form of jazz, beyond a doubt.” So why did jazz and rock subsequently become treated as separate genres? The rift between jazz and rock (and jazz and rock scholarship) is based on a set of received assumptions about their fundamental differences, but there are other ways popular music history could have been written. By offering a fresh examination of key historical moments when the trajectories and meanings of jazz and rock intersected, overlapped, or collided, it reveals how music critics constructed an ideological divide between jazz and rock that would be replicated in American musical discourse for decades to follow. Recipient of and Honorable Mention in the PROSE Award, Music & the Performing Arts 2018.
Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the industry. A complete index is included in each volume.
The evidence of death and dying has been removed from the everyday lives of most Westerners. Yet we constantly live with the awareness of our vulnerability as mortals. Drawing on a range of genres, bands and artists, Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Exploring bereavement, depression, suicide, violence, gore, and fans' responses to the deaths of musicians, it argues for the social and cultural significance of popular music's treatment of mortality and the apparent absurdity of existence.
First conceived in 1966 but only completed in 2004, Brian Wilson Presents Smile has been called "the best-known unreleased album in pop music history" and "an American Sergeant Pepper." Reading Smile offers a close analysis of the recording in its social, cultural and historical contexts. It focuses in particular on the finished work’s subject matter as embodied in Van Dyke Parks’ contentious yet little understood lyrics, with their low-resolution, highly allusive portrayals of western expansion’s archetypes, from Plymouth Rock, Massachusetts to Diamond Head, Hawaii. Documenting their multiple references and connotations, it argues that their invocations of national self-definition are part of a carefully crafted vision of American identity, society and culture both in tune and at odds with the times. Critical of the republic’s past practices but convinced that its ideals, values and myths still provided resources to redeem it, the recording is interpreted as a creative musical milestone, an enduring product of its volatile, radical, countercultural times, and an American pop art classic. Of particular relevance to American Studies and popular culture scholars, Reading Smile will also appeal to those interested in 1960s popular music, not least to fans of Brian Wilson, Van Dyke Parks and the Beach Boys.
Most pop songs are short-lived. They appear suddenly and, if they catch on, seem to be everywhere at once before disappearing again into obscurity. Yet some songs resonate more deeply—often in ways that reflect broader historical and cultural changes. In Footsteps in the Dark, George Lipsitz illuminates these secret meanings, offering imaginative interpretations of a wide range of popular music genres from jazz to salsa to rock. Sweeping changes that only remotely register in official narratives, Lipsitz argues, can appear in vivid relief within popular music, especially when these changes occur outside mainstream white culture. Using a wealth of revealing examples, he discusses such topics as the emergence of an African American techno music subculture in Detroit as a contradictory case of digital capitalism and the prominence of banda, merengue, and salsa music in the 1990s as an expression of changing Mexican, Dominican, and Puerto Rican nationalisms. Approaching race and popular music from another direction, he analyzes the Ken Burns PBS series Jazz as a largely uncritical celebration of American nationalism that obscures the civil rights era’s challenge to racial inequality, and he takes on the infamous campaigns to censor hip-hop and the radical black voice in the early 1990s. Teeming with astute observations and brilliant insights about race and racism, deindustrialization, and urban renewal and their connections to music, Footsteps in the Dark puts forth an alternate history of post–cold war America and shows why in an era given to easy answers and clichd versions of history, pop songs matter more than ever. George Lipsitz is professor of black studies and sociology at the University of California, Santa Barbara. Among his many books are Life in the Struggle, Dangerous Crossroads, and American Studies in a Moment of Danger (Minnesota, 2001).
Maps the changing nature of popular music and considers how popular music studies has expanded and developed to deal with these changes. The book discusses the participation of women in the industry, the changing role of gender and sexuality in popular music, and the role of technologies in production and distribution.