Key Terms in Popular Music and Culture
Blackwell Guides
1. Edition September 1999
274 Pages, Softcover
Wiley & Sons Ltd
ISBN:
978-0-631-21264-5
John Wiley & Sons
Original essays by leading scholars in the field of popular music
studies map the competing perspectives on the key terms of
contemporary debates on popular music and culture. Each essay
describes the history of continuities and conflicts in a term's
meaning, situating the writer's own position on the term in that
history of debate.
Providing a invaluable overview of the current state of popular
music discourse, the collection will be useful both to those new to
the study of popular music and those already well-versed in popular
music and cultural studies.
Acknowledgments.
Notes on contributors.
Introduction: Putting It Into Words: Key Terms for Studying
Popular Music; Bruce Horner (Drake University) and Thomas Swiss
(Drake University).
Part I: Locating Popular Music in Culture:.
1. Ideology: Lucy Green (University of London).
2. Discourse: Bruce Horner (Drake University).
3. Histories: Gilbert Rodman (University of South Florida).
4. Institutions: David Sanjek (BMI Archives).
5. Politics: Robin Balliger (Stanford University).
6. Race: Russell Potter (Rhode Island College).
7. Gender: Holly Kruse (La Salle University).
8. Youth: Deena Weinstein (DePaul University).
Part II: Locating Culture in Popular Music.
9. Popular: Anahid Kassabian (Fordham University).
10. Music: David Brackett (SUNY Binghamton).
11. Form: Richard Middleton (University of Newcastle upon
Tyne).
12. Text: John Shepherd (Carleton University).
13. Images: Cynthia Fuchs (George Mason University).
14. Performance: David Shumway (Carnegie Mellon University).
15. Authorship: Will Straw (McGill University).
16. Technology: Paul Theberge (Concordia University).
17. Business: Mark Fenster (Yale Law School) and Thomas Swiss
(Drake University).
18. Scenes: Sara Cohen (University of Liverpool).
Index.
Notes on contributors.
Introduction: Putting It Into Words: Key Terms for Studying
Popular Music; Bruce Horner (Drake University) and Thomas Swiss
(Drake University).
Part I: Locating Popular Music in Culture:.
1. Ideology: Lucy Green (University of London).
2. Discourse: Bruce Horner (Drake University).
3. Histories: Gilbert Rodman (University of South Florida).
4. Institutions: David Sanjek (BMI Archives).
5. Politics: Robin Balliger (Stanford University).
6. Race: Russell Potter (Rhode Island College).
7. Gender: Holly Kruse (La Salle University).
8. Youth: Deena Weinstein (DePaul University).
Part II: Locating Culture in Popular Music.
9. Popular: Anahid Kassabian (Fordham University).
10. Music: David Brackett (SUNY Binghamton).
11. Form: Richard Middleton (University of Newcastle upon
Tyne).
12. Text: John Shepherd (Carleton University).
13. Images: Cynthia Fuchs (George Mason University).
14. Performance: David Shumway (Carnegie Mellon University).
15. Authorship: Will Straw (McGill University).
16. Technology: Paul Theberge (Concordia University).
17. Business: Mark Fenster (Yale Law School) and Thomas Swiss
(Drake University).
18. Scenes: Sara Cohen (University of Liverpool).
Index.
"The book features an excellent roster of authors and will make a valuable companion to popular-music studies, histories and surveys" CHOICE
Bruce Horner has degrees in both music and English. His
essays on song criticism have appeared in such journals as
Mosaic, Writing on the Edge, and the Journal of
Musicology. He is Associate Professor of English at Drake
University, where he teaches courses on song criticism.
Thomas Swiss has had essays published in Popular
Music, Postmodern Culture, New England Review, and The New
York Times Book Review. His most recent books are Rough
Cut, a collection of poems (1997), and the co-edited Mapping
the Beat: Popular Music and Contemporary Theory (Blackwell,
1997). He teaches courses on music and contemporary culture at
Drake University, where he is Center for the Humanities
Professor.
essays on song criticism have appeared in such journals as
Mosaic, Writing on the Edge, and the Journal of
Musicology. He is Associate Professor of English at Drake
University, where he teaches courses on song criticism.
Thomas Swiss has had essays published in Popular
Music, Postmodern Culture, New England Review, and The New
York Times Book Review. His most recent books are Rough
Cut, a collection of poems (1997), and the co-edited Mapping
the Beat: Popular Music and Contemporary Theory (Blackwell,
1997). He teaches courses on music and contemporary culture at
Drake University, where he is Center for the Humanities
Professor.