Kate Bush is widely respected as one of the most unique solo female performers to have ever emerged in the field of popular music. She has achieved that rare combination of great commercial success and critical acclaim, with Hounds of Love considered widely to be her masterpiece. The album regularly features in 'best album' lists, and in the 2004 Observer poll was the highest placed work by a solo female artist. The album allows the author, Ron Moy, the critical opportunity to explore a wide range of issues relating to technology, production, authorship, grain of the voice, iconography, critical and commercial impact, collaboration, gender, sexuality, narrative, and social and cultural context.
'This is one of the few serious studies of Kate Bush, a hugely successful and influential British female pop artist. By focussing on Bush’s albums released between 1978 and 2005, and paying close attention to the 1985 album, Hounds of Love, Ron Moy presents a fascinating account of this artist’s achievements. Exploring the complex interactions of songs, video texts, mythologies of national identity, and authenticity, he executes an interdisciplinary approach that will undoubtedly be of use to a wide range of scholars within the field of popular music studies.' Stan Hawkins, University of Oslo ’Moy […] provides enlightening critical discussions of authorship, creative process and performance… It will be well received by students and researchers across several disciplines, and will no doubt provoke further discussion within musicology.’ Popular Music
Contents: Introduction. Part 1 Her Early Work: The Kick Inside; Lionheart; Never for Ever; The Dreaming. Part 2 Hounds of Love: Commercial context and critical reception of Hounds of Love; The conceptual work; Ideas and influences; Hounds of Love; A daughter of Albion?: Kate Bush and mythologies of Englishness; Genealogy; Creative influences; Accent and 'the grain of the voice'; Language and register; Style indicators; Kate Bush and auteur theory; From ingénue to auteur; Shades and degrees of authorship; Audio texts, video texts; extensions or detractions?; The society of the specular; Pop video; history and developments; An overview of Kate Bush's early videos; Hair of the Hound; The Sensual World: the video; The Line, the Cross and the Curve. Part 3 Her Later Work: The Whole Story; The period leading up to The Sensual World; The Sensual World; This Woman's Work; The period leading up to The Red Shoes; The Red Shoes; The period leading up to Aerial; Aerial: A Sea of Honey; A Sky of Honey; Coda: we become panoramic; Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.