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"The book features an excellent roster of authors and will make a valuable companion to popular–music studies, histories and surveys" CHOICE
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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.
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Despite a great diversity of opinion, most scholars nonetheless share certain fundamental views about the term "ideology." Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Despite a great diversity of opinion, most scholars nonetheless share certain fundamental views about the term "ideology." Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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2 of 7 people found the following review helpful
Format:Paperback
This book is not for the casual student of popular music. You'll find no cool stories of amazing concerts and no tales of studio high jinx here (well, almost none anyway), and a good biography or fifteen would serve you better for that. This is about analyzing popular music writ large in a deep and profound manner, even about taking a stab at defining popular music as a field of study. The language is fairly academic and the points made seem less than exciting at times. Simply put, this is mainly for college students (especially those involved in musicology) and for those it will be a good resource. Others would be much better off buying something else.
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2 of 2 people found the following review helpful
Review of This Book from Choice
3 Dec 2000
Format:Paperback
The editors of this volume have isolated concepts and terms widely used in contemporary discourse on popular music and have assigned authors to an essay intended to explore the intellectual history of the term, examine a range of the term's uses in popular- music studies, and provide examples and case studies. Some essays-for example Paul Théberge's "Technology," Richard Middleton's "Form," David Sanjek's "Institutions," and Sara Cohen's "Scenes"-accomplish this admirably and more than make this volume worth reading. A few, however, hew a little too closely to the author's own research projects and may be of less general interest. Clearly indebted for inspiration to Raymond Williams's Keywords (CH, Jun'76; rev. ed., 1983) and less ency clopedic than Key Concepts in Communication and Cultural Studies by Tim O'Sullivan et al. (2nd ed., 1994,), this collection attempts to introduce readers to a complex cultural studies terminology that is increasingly cen tral to academic discourse in popular-music studies and more generally Important in the humanities and social sciences. The book features an excel lent roster of authors and will make a valuable companion to popular-music studies, histories, and surveys. large collections at all levels.-G. Averill, New York University
College-level music students will find these 18 original essays enlightening
17 Aug 2006
Format:Paperback
College-level music students will find these 18 original essays enlightening, considering the foundations of popular music and drawing on works from feminist, postcolonial and cultural studies as well as music studies and literature to consider key terms, usage, and meaning. Contributors from different disciplines consider gender, race, politics and technology's influence on popular music trends and objectives, providing a scholarly and involving set of analyses.
Diane C. Donovan
California Bookwatch
Diane C. Donovan
California Bookwatch
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