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The Bloomsbury Handbook of Rock Music Research de Professor Allan Moore

The Bloomsbury Handbook of Rock Music Research: Bloomsbury Handbooks

Editat de Professor Allan Moore, Paul Carr
en Limba Engleză Paperback – 24 aug 2022
The Bloomsbury Handbook of Rock Music Research is the first comprehensive academic survey of the field of rock music as it stands today. More than 50 years into its life and we still ask - what is rock music, why is it studied, and how does it work, both as music and as cultural activity? This volume draws together 37 of the leading academics working on rock to provide answers to these questions and many more. The text is divided into four major sections: practice of rock (analysis, performance, and recording); theories; business of rock; and social and culture issues. Each chapter combines two approaches, providing a summary of current knowledge of the area concerned as well as the consequences of that research and suggesting profitable subsequent directions to take. This text investigates and presents the field at a level of depth worthy of something which has had such a pervasive influence on the lives of millions.
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Specificații

ISBN-13: 9781501393495
ISBN-10: 1501393499
Pagini: 656
Dimensiuni: 178 x 254 x 41 mm
Greutate: 1.12 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Handbooks

Locul publicării:New York, United States

Caracteristici

Outlines the important past research of each sub-area within rock, and brings it together with the consequences of that research and suggested subsequent directions to take

Notă biografică

Allan Moore is Professor Emeritus of Popular Music and and former Head of the Department of Music and Sound Recording at the University of Surrey, UK. He is series editor of the Ashgate Library of Essays in Popular Music, and author and editor of several books including Song Means (2012), Rock: The Primary Text, Third Edition (2018) and Jethro Tull's Aqualung (2004, part of Bloomsbury's 33 1/3 series).Paul Carr is Professor in Popular Music Analysis at the University of South Wales, UK. His research interests focus on the areas of musicology, widening access, the live music industry and pedagogical frameworks for music related education. He is also an experienced performing musician, having toured and recorded with artists as diverse as The James Taylor Quartet and ex Miles Davis saxophonist Bob Berg. He is the editor of Frank Zappa and the And (2013) and author of Sting (2017).

Cuprins

List of Figures List of Tables Notes on Contributors Acknowledgments 1. Introduction: Rock Music's Emergence, Censorship and Perceived Death (Paul Carr, University of South Wales, UK, and Allan Moore, University of Surrey, UK)PREFATORY 2. Rock Historiography: Music, Artists, Perspectives, and Value (John Covach, University of Rochester, USA)3. Serious Writing About Rock (Sarah Hill, Cardiff University, UK)4. The Definition of 'Rock' and Stylistic Overlaps (Taylor Myers, Rutgers University, USA, and Brad Osborn,University of Kansas, USA)PART I. PRACTICE, ANALYSIS AND RECORDING5. Rock Voice (Katherine Meizel, Bowling Green State University, USA)6. The Rock Instrumentarium (Steve Waksman, Smith College, USA)7. Analyzing and Interpreting Song Forms (Ralf von Appen, University of Music and Performing Arts, Austria)8. Convention and Invention in Harmonic and Melodic Theories for Rock Music (Brett Clement, Ball State University, USA)9. Rhythmic and Metric Theorization in Rock Music (Nicole Biamonte, McGill University, Canada)10. Computational Musicology in Rock (Trevor de Clercq, Middle Tennessee State University, USA)11. Function and Construction of Rock Lyrics (Dai Griffiths, Oxford Brookes University, UK)12. Rock Music Engineering and Production (Samantha Bennett, Australian National University, Australia)13. Sonic Space and Texture in Rock (Olivier Julien, Sorbonne University, France)PART II. ROCK THEORIES14. Authenticity, Creativity, Originality (Theodore Gracyk, Minnesota State University Moorhead, USA)15. Categorization: Genre, Style, Idiolect, and Beyond (Nick Braae, Waikato Institute of Technology, New Zealand)16. Personas in Rock: 'We Will, We Will Rock You' (Stan Hawkins, University of Oslo and the University of Agder, Norway)17. Rock Hermeneutics (Katherine Reed, California State University Fullerton, USA)18. Narrativity in Rock (Alexander C. Harden, Independent Scholar, UK)19. Sliding Scales and Slippery Slopes: Representations of Autonomy and Mediation in the 'Radial Mainstream' of UK-Based Pop/Rock(Damon Minchella, University of South Wales, UK)PART III. ROCK ENVIRONMENTS20. Studio Practice and Organization In Rock Music (Simon Zagorski-Thomas, London College of Music, UK)21. Rock Music Pedagogy in the UK and US: Ignorance or Elitism? (Paul Carr, University of South Wales, UK)22. The Rock Press (Paula Hearsum, University of Brighton, UK, and Martin James, Solent University, UK)23. Rock and Time-Based Visual Media (Laura Niebling, University of Regensburg, Germany)24. Rock in Time-Based Events (Andrew Blake, University of the Arts London, UK)25. Rock Live Performance (Sergio Pisfil, Sorbonne Université, France)26. Marketing and Commodification of Rock (Roy Shuker, Victoria University of Wellington, New Zealand)PART IV. SOCIAL AND CULTURAL ISSUES 27. Rock, Popular Culture and Power: Politics and Policy (Shane Homan, Monash University, Australia)28. Understanding Gender and Sexuality in Rock Music (Lori Burns, University of Ottawa, Canada)29. Race and Racialism in Rock (Jon Stratton, University of South Australia, Australia)30. In the World: Beyond the English-Speaking West (Motti Regev, Open University of Israel, Israel)31. Global Rock as Postcolonial Soundtrack (Jeremy Wallach, Bowling Green State University, USA)32. Rock Music and Place (Geoff Stahl, Victoria University of Wellington, New Zealand)33. Fans and Consumption (Mark Duffett, University of Chester, UK)Bibliography pageIndexpage

Recenzii

What is rock? If there is such a thing, is it now dead? If so, why should we care? This book assembles a range of accomplished scholars from across disciplines that offer an impressive insight into the ways in which we might care, detailing how rock has been manifested and understood, attesting to the fact that its academic study, at least, is very much alive. In her chapter, Katherine Reed asks "where are we now?", with answers provided across this volume accounting for how rock has been created, recorded, mediated, taught, managed, performed, filmed, photographed, dramatised and historicised. Amongst other things, the question of "what is rock?" is examined in terms of its global reach and an often problematic relationship with issues of gender, race or ethnicity, which illuminate its contested meanings and practices. Here, then, is a repertoire of ideas and tools that will be of use to established scholars while accessible to a wider readership. Readers, like this one, will find much with which to work or productively disagree, suggesting that this is far from an attempt at a definitive repository of knowledge but one seeking to prompt further thinking and research about the cultural importance of its object. Is rock dead then? Well, as this book reminds us, it is more complicated than that.
Over the last 40 years or so, rock scholarship has (like rock itself) diversified enormously, incorporating historiography, musicology, creativity studies, sociology, song analysis, production techniques, the music industry, and music pedagogy. Here, for the first time, researchers and music students can read contributions from some of the world's finest writers in all of these fields, collected in a single volume. The book serves both as an introduction to rock music studies, and as a resource for current and future researchers.