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This book analyses the relationships between contemporary media and popular music, both via the mediation of music, and music as mediator. It does so through a series of original interviews with key practitioners: musicians, writers, magazine editors, radio presenters and major and independent label bosses. Those interviewed include Mark Ellen, editor of Smash Hits, Q, Mojo and currently Word magazines; Mark Cooper, producer of Laterwith Jools Holland and CEO of Music Entertainment at the BBC; Ben Watt, half of Everything But The Girl and owner of independent label Buzzin' Fly; and Fiona Talkington, original and current presenter of the Sony Award winning Late Junction on BBC Radio 3. Through these interviews, theory and practice are measured against each other and the book considers their experiences and observations in order to explore the ways popular music is produced, marketed and mediated. Examining visual, print, radio and new media, Media and Popular Music draws together disparate elements odisparate elements of music and media which formerly have not been considered together, and provides a fresh and innovative contribution to the swiftly growing field of popular music studies.
This book reveals how the popular media contributes to widespread myths and misunderstanding about cultural diversity. Along with updated media examples, expanded theories and analysis, this edition explores even more deeply the coverage of race in two chapters, discusses more broadly how men and boys are depicted in the media and socialized, and how class issues have become even more visible during the Great Recession of the 21st century and the Occupy movement.
Popular music studies is a rapidly expanding field with changing emphases and agendas. The music industry has changed in recent years, as has governmental involvement in popular music schemes as part of the culture industry. The distinction between the major record labels and the outsider independents has become blurred over time. Popular music, as part of this umbrella of the culture industry, has been progressively globalized and globalizing. The tensions within popular music are now no longer between national cultural identity and popular music, but between the local and the global. This four volume collection examines the changing status of popular music against this background. Simon Frith examines the heritage of popular music, and how technology has changed not only the production but the reception of this brand of sound. The collection examines how the traditional genres of rock, pop and soul have broken down and what has replaced them, as well as showing how this proliferation of musical styles has also splintered the audience of popular music.
Approaching the music video in its post-televisual afterlife, this book offers a range of different perspectives on the current cultural state of the music video, one of the most visible and important forms of online media. It theorizes music video and its aesthetics audiovisually, as neither the sole province of film studies nor of musicology. The volume traces the interrelations between music video and other media, and the influence music videos have had on film style and the visual aspects of popular music. Korsgaard addresses core issues relating to the general study of music videos, including the history of music videos, the analysis of music videos, and the audiovisual aesthetics of music videos. In addition, this is the first book to truly address the recent changes following the digitization of music video, including its changing cycles of production, distribution, and reception; the influence of music videos on other media; and the rise of many new types of online music video including interactive music videos, music video apps, music video games, remixes/mashups, user-generated content, and 'live' music videos. Approaching music videos from a framework combining film and media studies, musicology, and audiovisual studies, the book researches an inspiring range of case studies from post-millennial classics in the works of Michel Gondry and Chris Cunningham to recent experimental and interactive examples that interrogate the very limits of the medium. This important volume will appeal to those studying musicology, media studies, cultural studies, digital culture, audiovisual theory, new media and remediation, composition, popular music, and visual media.
The Bloomsbury Handbook of Religion and Popular Music is the first comprehensive analysis of the most important themes and concepts in this field. Drawing on contemporary research from religious studies, theology, sociology, ethnography, and cultural studies, the volume comprises thirty-one specifically commissioned essays from a team of international experts. The chapters explore the principal areas of inquiry and point to new directions for scholarship. Featuring chapters on methodology, key genres, religious traditions and popular music subcultures, this volume provides the essential reference point for anyone with an interest in religion and popular music as well as popular culture more broadly. Religious traditions covered include Christianity, Islam, Judaism, Hinduism, Buddhism, Paganism and occultism. Coverage of genres and religion ranges from heavy metal, rap and hip hop to country music and film and television music. Edited by Christopher Partridge and Marcus Moberg, this Handbook defines the research field and provides an accessible entry point for new researchers in the field.
A collection covering a wide variety of media in Ireland, including broadcasting, film, popular music, radio, and popular culture. Together, these essays map out the role various media have played in the process of 're-imagining Ireland' over the last fifteen years, touching on aspects of Irish cultural identity and the (re)construction of notions of Irishness. The book addresses the more contemporary implications of both the peace process in Northern Ireland and the 'Celtic Tiger' phenomenon in the South. Contents include: Introduction: The Changing Configurations of Irish Studies (1990-2005); Boxed-in?: The Aesthetics of Film and Television --- Section One: Irish Film. National Cinema and Cultural Identity; Maureen O'Hara: The Political Power of the Feisty Colleen; A Landscape Peopled Differently: Thaddeus O'Sullivan's 'December Bride'; Cinema and the City: Re-imagining Belfast and Dublin; Challenging Colonial Traditions: British Cinema in the Celtic Fringe --- Section Two: Irish Broadcasting. 'Music Hall Dope and British Propaganda': Cultural Identity and Early Broadcasting in Ireland; The City and the Working Class on Irish Television; Broadcasting in a Divided Community: The BBC in Northern Ireland; Drama out of a Crisis: Television Drama and the Troubles; The Elect and the Abject: Representing Protestant Culture; Irish Popular Music; Hybridity and National Musics: The Case of Irish Rock Music (with Noel McLaughlin); Punk Music in Ireland: The Political Power of 'What-Might-Have-Been' --- Conclusion: Popular Culture and Social Change.├▓
The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.

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