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Partly because they are the objects of such intense adulation by fans, popular musicians remain strangely enigmatic figures, shrouded in mythology. This book looks beyond the myth and examines the diverse roles music makers have had to adopt in order to go about their work: designer, ventriloquist, star, delegate of the people. The musician is a divided subject and jack of all trades. However the story does not end here. Arguing against that strand in cultural studies which deconstructs all claims for authorship by the individual artist, Toynbee suggests that creativity should be reconceived rather than abandoned. What's needed is a sense of "the radius of creativity" within which musicians work, an approach that takes into account both the embedded collectivism of popular music practice and the institutional power of the music industries. Drawing on a wide range of theoretical positions, as well as examining musical texts from across the history of twentieth century pop,this groundbreaking book develops a powerful case for the importance of production in contemporary culture. It will be an invaluable source for students of culture and media studies, music and the performing arts.
*Nominated for the International Association for the Study of Popular Music Book Prize* Partly because they are the objects of such intense adulation by fans popular musicians remain strangely enigmatic figures, shrouded in mythology. This book looks beyond the myth and examines the diverse roles music makers have had to adopt in order to go about their work: designer, ventriloquist, star, delegate of the people. The musician is a divided subject and jack of all trades. However the story does not end here. Arguing against that strand in cultural studies which deconstructs all claims for authorship by the individual artist, Jason Toynbee suggests that creativity should be reconceived rather than abandoned. He argues that what is needed is a sense of 'the radius of creativity' within which musicians work, an approach that takes into account both the embedded collectivism of popular music practice and the institutional power of the music industries. Drawing on a wide range of theoretical positions, as well as examining musical texts from across the history of twentieth-century pop,this groundbreaking book develops a powerful case for the importance of production in contemporary culture. Students of cultural and media studies, music and the performing arts will find this book an invaluable resource.
The breadth and vitality of pop music are captured in a study that brings together examinations of pop music by pioneers in the study of pop music, pivotal critics, as well as musicians active in the riot grrl and rock scenes.
"The SAGE Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard reference in popular music. The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship. International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field." - Will Straw, McGill University "Celebrating the maturation of popular music studies and recognizing the immense changes that have recently taken place in the conditions of popular music production, The SAGE Handbook of Popular Music features contributions from many of the leading scholars in the field. Every chapter is well defined and to the point, with bibliographies that capture the history of the field. Authoritative, expertly organized and absolutely up-to-date, this collection will instantly become the backbone of teaching and research across the Anglophone world and is certain to be cited for years to come." - Barry Shank, author of 'The Political Force of Musical Beauty' (2014) The SAGE Handbook of Popular Music provides a highly comprehensive and accessible summary of the key aspects of popular music studies. The text is divided into 9 sections: Theory and Method The Business of Popular Music Popular Music History The Global and the Local The Star System Body and Identity Media Technology Digital Economies Each section has been chosen to reflect both established aspects of popular music studies as well as more recently emerging sub-fields. The handbook constitutes a timely and important contribution to popular music studies during a significant period of theoretical and empirical growth and innovation in the field. This is a benchmark work which will be essential reading for educators and students in popular music studies, musicology, cultural studies, media studies and cultural sociology.
Since the early 2000s New Zealand has undergone a pop renaissance. Domestic artists' sales, airplay and concert attendance have all grown dramatically while new avenues for 'kiwi' pop exports emerged. Concurrent with these trends was a new collective sentiment that embraced and celebrated domestic musicians. In Making New Zealand's Pop Renaissance, Michael Scott argues that this revival arose from state policies and shows how the state built market opportunities for popular musicians through public-private partnerships and organizational affinity with existing music industry institutions. New Zealand offers an instructive case for the ways in which 'after neo-liberal' states steer and co-ordinate popular culture into market exchange by incentivizing cultural production. Scott highlights how these music policies were intended to address various economic and social problems. Arriving with the creative industries' discourse and policy making, politicians claimed these expanded popular music supports would facilitate sustainable employment and a sense of national identity. Yet popular music as economic and social policy presents a paradox: the music industry generates commercial failure and thus requires a large unattached pool of potential talent. Considering this feature, Scott analyses how state programs induced an informal economy of proto-pop production aimed at accessing competitive state funding while simultaneously encouraging musicians to adopt entrepreneurial subjectivities. In doing so he argues New Zealand's music policies are a form of social policy that unintentionally deploy hierarchical structures to foster social inclusion amongst growing numbers of creative workers.
The term 'Popular Music' has traditionally denoted different things in France and Britain. In France, the very concept of 'popular' music has been fiercely debated and contested, whereas in Britain and more largely throughout what the French describe as the 'Anglo-saxon' world 'popular music' has been more readily accepted as a description of what people do as leisure or consume as part of the music industry, and as something that academics are legitimately entitled to study. French researchers have for some decades been keenly interested in reading British and American studies of popular culture and popular music and have often imported key concepts and methodologies into their own work on French music, but apart from the widespread use of elements of 'French theory' in British and American research, the 'Anglo-saxon' world has remained largely ignorant of particular traditions of the study of popular music in France and specific theoretical debates or organizational principles of the making and consuming of French musics. French, British and American research into popular music has thus coexisted – with considerable cross-fertilization – for many years, but the barriers of language and different academic traditions have made it hard for French and anglophone researchers to fully appreciate the ways in which popular music has developed in their respective countries and the perspectives on its study adopted by their colleagues. This volume provides a comparative and contrastive perspective on popular music and its study in France and the UK.
Every epoch bewilders those who live through it, but for Americans, the postwar era has been a time of breathtaking change and transition. With these comprehensive and engaging essays, this volume encourages readers to form a new perspective on a recent and highly debated period of American history. Contributors to this volume were chosen for their ability to conceive of topics in unconventional and provocative ways. Renowned scholars specializing in economics, foreign affairs, political science, and social and cultural history collectively reexamine the history of America since the end of World War II. Rather than divide this period into such traditional categories as "women," "television," and "politics," contributors take a cross-topical approach that emphasizes the interconnectedness of American life and society. Beginning with an analysis of cultural themes and ending with a discussion of evolving and expanding political and corporate institutions, these essays address changes in America's response to the outside world; the merging of psychological states and social patterns in memorial culture, scandal culture, and consumer culture; the intersection of social practices and governmental policies; the effect of technological change on society and politics; and the intersection of changing belief systems and technological development, among other issues. Many had feared that Orwellian institutions would crush the individual in the postwar era, but a major theme of this book is the persistence of individuality and diversity. Trends toward institutional bigness and standardization have coexisted with and sometimes have given rise to a countervailing pattern of individualized expression and consumption. Today Americans are exposed to more kinds of images and music, choose from an infinite variety of products, and have a range of options in terms of social and sexual arrangements. In short, they enjoy more ways to express their individuality despite the rise of immense global corporations, and this history imaginatively explores every facet of this unique American experience.

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