Pop Music and Easy Listening: 1st Edition (Hardback) book cover

Pop Music and Easy Listening

1st Edition

Edited by Stan Hawkins


560 pages

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Hardback: 9780754629528
pub: 2011-09-12
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pub: 2017-07-05
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What defines pop music? Why do we consider some styles as easier listening than others? Arranged in three parts: Aesthetics and Authenticity - Groove, Sampling and Industry - Subjectivity, Ethnicity and Politics, this collection of essays by a group of international scholars deals with these questions in diverse ways. This volume prepares the reader for the debates around pop's intricate historical, aesthetic and cultural roots. The intellectual perspectives on offer present the interdisciplinary aspects of studying music and, spanning more than twenty-five years, these essays form a snapshot of some of the authorial voices that have shaped the specific subject matter of pop criticism within the broader field of popular music studies. A common thread running through these essays is the topic of interpretation and its relation to conceptions of musicality, subjectivity and aesthetics. The principle aim of this collection is to demonstrate that pop music needs to be evaluated on its own terms within the cultural contexts that make it meaningful.

Table of Contents

Contents: Introduction; Part I Aesthetics and Authenticity: 'Sing it for me': posthuman ventriloquism in recent popular music, Joseph Auner; Art versus technology: the strange case of popular music, Simon Frith; Pearls and swine: the intellectuals and the mass media, Simon Frith and Jon Savage; Remodeling Britney Spears: matters of intoxication and mediation, Stan Hawkins and John Richardson; The production of success: an anti-musicology of the pop song, Antoine Hennion; In excess? Body genres, 'bad' music, and the judgment of audiences, Leslie M. Meier; Hits and misses: crafting a pop single for the top-40 market in the 1960s, Robert Toft. Part II Groove, Sampling and Production: Frank Sinatra: the television years - 1950-1960, Albert Auster; Mediating music: materiality and silence in Madonna's Don't Tell Me, Anne Danielsen and Arnt Maasø; Sample and hold: pop music in the digital age of reproduction, Andrew Goodwin; 'Caught in a whirlpool of aching sound': the production of dance music in Britain in the 1920s, Mark Hustwitt; Spice world: constructing femininity the popular way, Dafna Lemish; Modelling the groove: conceptual structure and popular music, Lawrence M. Zbikowski. Part III Subjectivity, Ethnicity and Politics: Like a virgin-mother? Materialism and maternalism in the songs of Madonna, Barbara Bradby; 'That ill, tight sound': telepresence and biopolitics in post-Timbaland rap production, Dale Chapman; Sex, pulp and critique, Eric F. Clarke and Nicola Dibben; Pop and the nation-state: towards a theorisation, Martin Cloonan; Believe? Vocoders, digitalized female identity and camp, Kay Dickinson; Music and Canadian nationhood post 9/11: an analysis of Music Without Borders: Live, Susan Fast and Karen Pegley; Black pop songwriting 1963-1966: an analysis of US top 40 hits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland, Jon Fitzgerald; 'A fifth of Beethoven': disco, classical music, and the politics of inclusion, Ken McLeod; 'The di

About the Editor

Stan Hawkins is Professor of Musicology, University of Oslo, Norway

About the Series

The Library of Essays on Popular Music

The Library of Essays on Popular Music
Popular music has become not only one of the most lucrative spheres of human activity, but also one of the most influential on the identities of individuals and communities. Popular music matters, and it matters to many people, people we can only partially understand if we do not understand their music. In the light of this phenomenon the academic study of popular music has become universally established as an active discipline at university level and this timely series brings together the fruits of recent teaching and research in this field. It makes overt recognition of the fact that the study of popular music is necessarily inter-disciplinary and addresses issues as diverse as: the popular music industry and its institutions; aspects of the history of genres; issues in the theories and methodologies of study and practice; questions of the ontologies and hermeneutics of particular musics; the varying influence of different waves of technological development; the ways markets and audiences are constructed, reproduced and reached; and aspects of the repertory without which there would be no popular music to study. The eight volumes in this series span the range of the world's popular music genres from rap, hip hop, soul and jazz, to roots, electronica, dance and club music. Each volume editor has contributed an introductory essay which constitutes a broad overview of the specific group of genres, and made a selection of the most important and influential published articles, papers and other relevant material. Taken together, these volumes offer an invaluable resource for the study of popular music today in all its forms.

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Subject Categories

BISAC Subject Codes/Headings:
MUSIC / Genres & Styles / Pop Vocal