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.
'Stereo sets up a fascinating dialogue between French and British researchers, and between scholarly approaches to popular music on both sides of the Channel. An extremely accessible and well-referenced survey of the last twenty years’ work in Popular Music Studies, this book is to be recommended to academics and students with an interest in popular music, sociology, Anglo-French cultural studies and contemporary history.' Barbara Lebrun, University of Manchester, UK ’… one [is left] with a greater understanding of the various functions and social roles popular music has in both countries… a little work on the reader’s behalf will certainly enable genuine and valuable comparisons between British and French approaches to popular music research. This could not only have practical implications for changes to music’s economy and government intervention, but also for understanding the social mechanics that shape different popular music cultures.’ Popular Music 'Dauncey and Le Guern’s volume displays a great variety of methods and approaches used in British and French academic research and will undoubtedly prove highly valuable to anyone interested in the sociological approach of popular music today regardless of their geographical focus. Given the overwhelming pace of change in the musical practices of audiences, of professional and amateur musicians, and the transformations of musical industries, this book explores and refines a number of key directions that will no doubt remain at the heart of future research in popular music studies.' Contemporary French Civilization '… the volume presents a well referenced survey of approaches to the discipline and constitutes a valuable resource for scholars and postgraduate and undergraduate students of (comparative) cultural studies, popular music studies, and sociology in Britain and France.' French Studies
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.