Ashgate Research Companion To Popular Musicology, The

Description:
The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods. Contributors to the volume were asked to write something original and, at the same time, to provide an instructive example of a particular way of working and thinking. The essays have been written with a view to helping graduate students with research methodology and the application of relevant theoretical models. The team of contributors is an exceptionally strong one: it contains many of the pre-eminent academic figures involved in popular musicological research, and there is a spread of European, American, Asian, and Australasian scholars. The volume covers seven main themes: Film, Video and Multimedia; Technology and Studio Production; Gender and Sexuality; Identity and Ethnicity; Performance and Gesture; and, Reception and Scenes and The Music Industry and Globalization. 'The Ashgate Research Companion' is designed to offer scholars and graduate students a comprehensive and authoritative state-of-the-art review of current research in a particular area. The companion's editor brings together a team of respected and experienced experts to write chapters on the key issues in their speciality, providing a comprehensive reference to the field.

Table of Contents:
Introduction, Derek B. Scott; Part 1 Film, Video and Multimedia: Trevor Jones's score for In the Name of the Father, David Cooper; Music, sound and the moving image: the present and a future?, Anahid Kassabian; Reinventing Question Time, Miguel Mera; Televised live performance, looping technology and the 'nu folk': KT Tunstall on Later...with Jools Holland, John Richardson. Part 2 Technology and Studio Production: Learning to listen to perfect sound: hi-fi culture and changes in modes of listening, 1950-80, Alf Bjornberg; Approaches to analyzing recordings of popular music, Timothy Warner; The art of phonography: sound, technology and music, Peter Wicke. Part 3 Gender and Sexuality: Genre, subjectivity and backup singing in rock music, Susan Fast; Musical notes on camp, Freya Jarman-Ivens; Who are you? Research strategies of the unruly feminine, Sheila Whiteley; 'I'm a man': masculinities in popular music, Jason Lee Oakes. Part 4 Identity and Ethnicity: The woven world: unravelling the mainstream and the alternative in Greek popular music, Kevin Dawe; Dayton Street funk: the layering of multiple identities, Portia K. Maultsby; Balck, white and brown on the dance floor: the new meanings of panjabiyat in the 21st century, Anjali Gera Roy. Part 5 Performance and Gesture: Musical persona: the physical performance of popular music, Philip Auslander; Vocal performance and the projection of emotional authenticity, Nicola Dibben; 'Chelsea Rodgers' was a model - vocality in Prince of the 21st century, Stan Hawkins; Singing style and white masculinity, Jacqueline Warwick; Talking music, making music: a comparison between Rap and Techno, Antoine Hennion. Part 6 Reception and Scenes: Absolute beginners: the evolution of a British popular music scene, Ian Inglis; Studying receptions and scenes, Adam Krims; Interpretation: so what?, Allan F. Moore; Beyond the master narrative of youth: researching ageing popular music scenes, Nicola Smith. Part 7 The Music Industry and Globalization: Music and the creative knowledge industry, Geraldine Bloustein; The transnational music industry, Andreas Gebesmair; Pop idol: global economy - local meanings, Tarja Rautiainen- Keskustalo; Bibliography; Index.

Author Biography:
Derek B. Scott is a Professor of Critical Musicology at the University of Leeds, UK