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LEPM-Series-2011 NEW! 8-volume series The Library of Essays on Popular Music Series Editor: Allan Moore ASHGATE www.ashgate.com/reference 8-Volume Reference series from Ashgate The Library of Essays on Popular Music Jazz Pop Music and Edited by Tony Whyton, University of Salford, UK Easy Listening Edited by Stan Hawkins, The Library of Essays on Popular Music University of Oslo, Norway his collection of articles engages with issues that Tare central to the changing discourse of jazz in The Library of Essays on Popular Music popular culture. The volume includes studies of specific hat defines pop music? Why do we consider scenes, artists and periods from jazz history, as well as Wsome styles as easier listening than others? This studies of broader aspects of musical discourse such as collection of essays by a group of international ontological considerations, the politics of canon scholars shows how academics have responded to formation, and issues of representation and questions such as these within pop criticism over the international perspectives. last twenty-five years. The intellectual perspectives on offer present the inter-disciplinary aspects of studying Contents: music and form a snapshot of some of the authorial voices that have shaped the specific subject matter of Introduction pop criticism within the broader field of popular music studies. opular music has become not only one of Part I History, Canon and the Politics of the Popular: Pthe most lucrative spheres of human Is jazz popular music?, Simon Frith; Hear me talkin’ to Contents: ya: problems of jazz discourse, Bruce Johnson; Cultural activity, but also one of the most influential dialogics and jazz: a White historian signifies, Introduction on the identities of individuals and Gary Tomlinson; Marsalis and Baraka: an essay in comparative cultural discourse, Lee B. Brown; Part I Aesthetics and Authenticity: communities. Popular music matters, and it Struggling with jazz, Scott DeVeaux; Free jazz in the ‘Sing it for me’: posthuman ventriloquism in recent matters to many people, people we can only classroom: an ecological approach to music education, popular music, Joseph Auner; Art versus technology: David Borgo; Deconstructing the jazz tradition: the the strange case of popular music, Simon Frith; Pearls partially understand if we do not understand ‘subjectless subject’ of new jazz studies, Sherrie Tucker. and swine: the intellectuals and the mass media, their music. Part II Representations, People, Repertoire: Simon Frith and Jon Savage; Remodeling Britney Spears: matters of intoxication and mediation, White face, Black voice: race, gender, and region in the Stan Hawkins and John Richardson; The production of music of the Boswell Sisters, Laurie Stras; Charlie Parker success: an anti-musicology of the pop song, In the light of this phenomenon the academic study and popular music, Brian Priestley; The sound world of Antoine Hennion; In excess? Body genres, ‘bad’ music, of popular music has become universally Art Tatum, David Horn; Out of notes: signification, and the judgment of audiences, Leslie M. Meier; Hits interpretation, and the problem of Miles Davis, and misses: crafting a pop single for the top-40 market established as an active discipline at university level Robert Walser; A question of standards: My Funny in the 1960s, Robert Toft. Valentine and musical intertextuality, Alan Stanbridge; and this timely series brings together the fruits of Doubleness and jazz improvisation: irony, parody, and Part II Groove, Sampling and Production: recent teaching and research in this field. It makes ethnomusicology, Ingrid Monson; Style and the Frank Sinatra: the television years 1950–1960, overt recognition of the fact that the study of improvised in Keith Jarrett’s solo concerts, Peter Elsdon; Albert Auster; Mediating music: materiality and silence Four for Trane: jazz and the disembodied voice, in Madonna’s ‘Don’t Tell Me’, Anne Danielsen and popular music is necessarily inter-disciplinary and Tony Whyton; Regendering jazz: Ornette Coleman and Arnt Maasø; Sample and hold: pop music in the digital the New York jazz scene in the late 1950s, David Ake. addresses issues as diverse as: the popular music age of reproduction, Andrew Goodwin; ‘Caught in a Part III Reception, Scenes, Global Perspectives: whirlpool of aching sound’: the production of dance industry and its institutions; aspects of the history music in Britain in the 1920s, Mark Hustwitt; Spice Stars of David and sons of Sicily: constellations beyond world: constructing femininity the popular way, of genres; issues in the theories and methodologies the canon in early New Orleans jazz, Bruce Boyd Dafna Lemish; Modelling the groove: conceptual Raeburn; A critical reassessment of the reception of structure and popular music, Lawrence M. Zbikowski. of study and practice; questions of the ontologies early jazz in Britain, Catherine Parsonage; Making jazz and hermeneutics of particular musics; the varying French: the reception of jazz music in Paris, 1927–1934, Part III Subjectivity, Ethnicity and Politics: Jeffrey H. Jackson; Jammin’ on the jazz frontier: the Like a virgin-mother? Materialism and maternalism in influence of different waves of technological Japanese jazz community in interwar Shanghai, the songs of Madonna, Barbara Bradby; ‘That ill, tight development; the ways markets and audiences are E. Taylor Atkins; Concert and dance: the foundations of sound’: telepresence and biopolitics in post-Timbaland Black jazz in South Africa between the 20s and the rap production, Dale Chapman; Sex, pulp and critique, constructed, reproduced and reached; and aspects early 40s, Christopher Ballantine; Jazz Britannia: Eric F. Clarke and Nicola Dibben; Pop and the nation- mediating the story of British jazz on television, state: towards a theorisation, Martin Cloonan; Believe? of the repertory without which there would be no Tim Wall and Paul Long. Vocoders, digitalized female identity and camp, popular music to study. Name index. Kay Dickinson; Music and Canadian nationhood post 9/11: an analysis of Music Without Borders: Live, Includes 22 previously published journal articles Susan Fast and Karen Pegley; Black pop songwriting The eight volumes in this series span the range of 1963–1966: an analysis of US top 40 hits by Cooke, August 2011 | 562 pages | Hardback | 978-0-7546-2951-1 | Mayfield, Stevenson, Robinson, and Holland-Dozier- the world’s popular music genres from rap, hip hop, £150.00 / $275.00 Holland, Jon Fitzgerald; ‘A fifth of Beethoven’: disco, soul and jazz, to roots, electronica, dance and club classical music, and the politics of inclusion, http://www.ashgate.com/isbn/9780754629511 Ken McLeod; ‘The digital won’t let me go’: music. Each volume editor has contributed an constructions of the virtual and the real in Gorillaz’ Clint Eastwood, John Richardson; Navigating the introductory essay which constitutes a broad ‘channel’: recent scholarship on African-American overview of the specific group of genres, and made popular music, David Sanjek; Prince as queer poststructuralist, Robert Walser. a selection of the most important and influential published articles, papers and other relevant Name index. material. Taken together, these volumes offer an Includes 24 previously published journal articles invaluable resource for the study of popular music September 2011 | 554 pages | Hardback | 978-0-7546-2952-8 | £150.00 / $275.00 today in all its forms. http://www.ashgate.com/isbn/9780754629528 ASHGATE on twitter Follow us and get the latest news and updates: twitter.com/AshgateRef 8-Volume Reference series from Ashgate Series Editor: Allan Moore, The Library of Essays on Popular Music Professor of Popular Music in the Department of Music and Sound Recording at the University of Surrey, UK Rock Music Popular Music and Roots Music Edited by Mark Spicer, Multimedia Edited by Mark F. DeWitt, University City University of New York, USA of Louisiana at Lafayette, USA Edited by Julie McQuinn, The Library of Essays on Popular Music Lawrence University, USA The Library of Essays on Popular Music his volume gathers together twenty articles from The Library of Essays on Popular Music his collection of leading articles on roots music Tamong the best scholarly writing on rock music Tcovers a range of subjects from the accordion, published in academic journals over the past two he focus of this collection of essays is the powerful balladry and blues to Bulgarian folk orchestras, decades. These diverse essays reflect the wide range of Tinteraction between popular music and multimedia: flamenco, tex-mex music and zydeco. Published approaches that scholars in various disciplines have film, television, music video and video games. Written by between 1974 and 2010 and featuring an introductory applied to the study of rock and provide an overview a diverse group of scholars and published within the last essay, the articles focus on the nexus between popular of the current state of research in the field of rock fifteen years, the essays examine new theories and musics in North America and Europe and the music. methodologies and offer opportunities for thinking traditional musics that have been their foundation, on across disciplines, media and hierarchies. The volume both the real and imagined connections between the Contents: also expands the arena within which we can explore the present and past. ever-increasing and mutually affective ways that popular Introduction music and other media intertwine, reflecting and Contents: shaping perceptions,
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