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Through a collection of case studies, the author examines why music categories and music genres are debated, and why the terms used to describe these categories and genres are always changing.
Covering the grown of twentieth-century American popular music, this work explores the question of why some music styles attain mass popularity while others thrive in small niches.
Made in Sweden: Studies in Popular Music serves as a comprehensive and rigorous introduction to the history, sociology and musicology of twentieth-century Swedish popular music. The volume consists of essays by leading scholars of Swedish popular music and covers the major figures, styles and social contexts of pop music in Swedish. Although the vast majority of the contributors are Swedish, the essays are expressly written for an international English-speaking audience. No knowledge of Swedish music or culture will be assumed. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Swedish popular music; each section features a brief introduction by the volume editors. The book presents a general description of the history and background of Swedish popular music, followed by essays that are organized into thematic sections: The Historical Development of the Swedish Popular-Music Mainstream; The Swedishness of Swedish Popular-Music Genres; Professionalization and Diversification; and Swedish Artist Personas. Contributors: Jonas Bjälesjö Alf Björnberg Thomas Bossius Peter Dahlén Olle Edström Karin L. Eriksson Rasmus Fleischer Sverker Hyltén-Cavallius Lars Lilliestam Ulf Lindberg Morten Michelsen Susanna Nordström Marita Rhedin Henrik Smith-Sivertsen Ann Werner Kajsa Widegren
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.
This volume of essays by the distinguished musicologist Charles Hamm focuses on the context of popular music and its interrelationships with other styles and genres, including classical music, the meaning of popular music for audiences, and the institutional appropriation of this music for hegemonic purposes. Specific topics include the use of popular song to rouse anti-slavery sentiment in mid-nineteenth-century America, the reception of such African-American styles and genres as rock 'n' roll and soul music by the black population of South Africa, the question of genre in the early songs of Irving Berlin, the attempts by the governments of South Africa and China to impose specific bodies of music on their populations, and the impact of modernist modes of thought on writing about popular music.
Edited by distinguished scholars in the field of popular music studies, this encyclopedia set is THE authoritative reference guide to popular music from all corners of the globe, the ultimate reference work to do justice to this vibrant subject.

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