Performing Class In British Popular Music

This new study of British popular music shows how it engages with class in mythical ways that allow audiences to perform class-based identities. Case studies on folk rock, punk and indie rock show how this performance works and explore the implications for listeners and audiences.

The Bloomsbury Handbook of Popular Music and Social Class is the first extensive analysis of the most important themes and concepts in this field. Encompassing contemporary research in ethnomusicology, sociology, cultural studies, history, and race studies, the volume explores the intersections between music and class, and how the meanings of class are asserted and denied, confused and clarified, through music. With chapters on key genres, traditions, and subcultures, as well as fresh and engaging directions for future scholarship, the volume considers how music has thought about and articulated social class. It consists entirely of original contributions written by internationally renowned scholars, and provides an essential reference point for scholars interested in the relationship between popular music and social class.

Now in its fifth edition, this popular A–Z student reference book provides a comprehensive survey of key ideas and concepts in popular music culture, examining the social and cultural aspects of popular music. Fully revised with extended coverage of the music industries, sociological concepts and additional references to reading, listening and viewing throughout, the new edition expands on the foundations of popular music culture, tracing the impact of digital technology and changes in the way in which music is created, manufactured, marketed and consumed. The concept of metagenres remains a central part of the book: these are historically, socially, and geographically situated umbrella musical categories, each embracing a wide range of associated genres and subgenres. New or expanded entries include: Charts, Digital music culture, Country music, Education, Ethnicity, Race, Gender, Grime, Heritage, History, Indie, Synth pop, Policy, Punk rock and Streaming. Popular Music Culture: The Key Concepts is an essential reference tool for students studying the social and cultural dimensions of popular music.

‘Adult Reactions to Popular Music and Inter-generational Relations in Britain, 1955–1975’ challenges stereotypes concerning a post-war ‘generation gap’, exacerbated by rebellion-inducing popular music styles, by demonstrating the considerable variety which frequently characterized adult responses to the music, whilst also highlighting that the impact of the music on inter-generational relations was more complex than is often assumed. [NP] Utilizing extensive primary evidence, from first-person accounts to newspapers, television programmes, surveys and archive collections, the book adopts a thematic approach, identifying three key arenas of British society in which adult responses to popular music, and the impact of such reactions upon relations between generations, seem particularly revealing and significant. The book examines in detail the place of popular music within family life and Christian churches and their engagement with popular music, particularly within youth clubs. It also explores ‘encounters’ between the worlds of traditional Variety entertainment and popular music while providing broader perspectives on this most dynamic and turbulent of periods.

Listening to popular music and watching television have become the two most common activities for postwar generations in Britain. From the experiences of programmes like Oh Boy! and Juke Box Jury, to the introduction of 24 hour music video channels, the number and variety of television outputs that consistently make use of popular music, and the importance of the small screen as a principal point of contact between audiences and performers are familiar components of contemporary media operation. Yet there have been few attempts to examine the two activities in tandem, to chart their parallel evolution, to explore the associations that unite them, or to consider the increasingly frequent ways in which the production and consumption of TV and music are linked in theory and in practice. This volume provides an invaluable critical analysis of these, and other, topics in newly-written contributions from some of Britain's leading scholars in the disciplines of television and/or popular music studies. Through a concentration on four main areas in which TV organises and presents popular music – history and heritage; performers and performances; comedy and drama; audiences and territories – the book investigates a diverse range of musical genres and styles, factual and fictional programming, historical and geographical demographics, and the constraints of commerce and technology to provide the first systematic account of the place of popular music on British television.

This is an important work that addresses the complex issues surrounding musical meaning and experience, and the Western traditional justification for including music in education. The chapters in this volume examine the important subjects of tradition, innovation, social change, the music curriculum, music in the twentieth century, social strata, culture and music education, psychology, science and music education, including musical values and education. Additional topics include the origins of mania, aesthetics and musical meaning related to concepts that are well-known to the ancient Greeks.

An incredibly wide-ranging critical account of popular music. The book is an essential resource for all staff and students in the field′ - John Storey, Centre for Research in Media and Cultural Studies, University of Sunderland Organized in accessible sections and covering the main themes of research and teaching it examines: • The key approaches to understanding popular music • The main settings of exchange and consumption • The role of technology in the production of popular music • The main genres of popular music • The key debates of the present day Barbazon writes with verve and penetration. Her approach starts with how most people actually consume music today and transfers this onto the plain of study. The book enables teachers and students to shuffle from one topic to the other whilst providing an unparalleled access the core concepts and issues. As such, it is the perfect study guide for undergraduates located in this exciting and expanding field. Tara Brabazon is Professor of Communication at University of Ontario Institute of Technology (UOIT).

Now in an updated fourth edition, this popular A-Z student handbook provides a comprehensive survey of key ideas and concepts in popular music culture. With new and expanded entries on genres and subgenres, the text comprehensively examines the social and cultural aspects of popular music, taking into account the digital music revolution and changes in the way that music is manufactured, marketed and delivered. New and updated entries include: Age and youth Black music Digital music culture K-Pop Mash-ups Philadelphia Soul Pub music Religion and spirituality Remix Southern Soul Streaming Vinyl With further reading and listening included throughout, Popular Music: The Key Concepts is an essential reference text for all students studying the social and cultural dimensions of popular music.