This book, the first full-length text on the subject, explores the everyday use of music listening while driving a car. It presents the relationship between cars and music in an effort to understand how music behaviour in the car can either enhance driver safety or place the driver at increased risk of accidents. A great deal of work has been done to investigate and reduce driver distraction and inattention, but this book is the first to focus on in-cabin aural backgrounds of music as a contributing factor to human error and traffic violations. Driving With Music begins by outlining the automobile, its relationship to society, and the juxtaposition of music with the automobile as a complete package. It then highlights concepts from the fields of music perception and cognition, and, within this framework, looks at the functional use of background music in our everyday lives. Driver music behaviours - both adaptive and maladaptive - are explored, with the focus on contradictions and ill-effects of in-car music listening.

The first narrative biography of the Bee Gees, the phenomenally popular vocal group that has sold more than 200 million records worldwide--sales in the company of the Beatles and Michael Jackson. "The Bee Gees" is the epic family saga of brothers Barry, Robin, and Maurice Gibb, and it's riddled with astonishing highs--especially as they became the definitive band of the disco era, fueled by "Saturday Night Fever" and crashing lows, including the tragic drug-fueled downfall of youngest brother, Andy. In recent years, a whole new generation of fans has rediscovered the undeniable grooves and harmonies that made the Bee Gees and songs like "Stayin' Alive," "How Deep is Your Love," "To Love Somebody," and "I Started a Joke" timeless.

Why, despite the number of high profile female rock musicians, does rock continue to be understood as masculine? Why is rock generally assumed to be created and performed by men? Marion Leonard explores different representations of masculinity offered by, and performed through, rock music, and examines how female rock performers negotiate this gendering of rock as masculine. A major concern of the book is not specifically with men or with women performing rock, but with how notions of gender affect the everyday experiences of all rock musicians within the context of the music industry. Leonard addresses core issues relating to gender, rock and the music industry through a case study of 'female-centred' bands from the UK and US performing so called 'indie rock' from the 1990s to the present day. Using original interview material with both amateur and internationally renowned musicians, the book further addresses the fact that the voices of musicians have often been absent from music industry studies. Leonard's central aim is to progress from feminist scholarship that has documented and explored the experience of female musicians, to presenting an analytic discussion of gender and the music industry. In this way, the book engages directly with a number of under-researched areas: the impact of gender on the everyday life of performing musicians; gendered attitudes in music journalism, promotion and production; the responses and strategies developed by female performers; the feminist network riot grrrl and the succession of international festivals it inspired under the name of Ladyfest.

This highly original and accessible book draws on the author's personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. These records reveal how the creative use of technology in the modern pop recording studio has informed Horn's work, a theme that is then explored in an extensive interview with Horn himself.

Scouse Pop is a journey into the personalities and music of the successful pioneering Liverpool pop bands of the late seventies and eighties. It examines their motivations, their uniqueness and the routes to success which made them into enduring musical innovators. It looks at the reasons why art-pop bands such as OMD, China Crisis, Echo and the Bunnymen, Black and Frankie Goes to Hollywood managed to combine art and commerce with such spectacular success. The bands experienced their own 'revolutions in the head, ' internal revolutions than eventually made many of them household names. The development of these suburban romantics from Liverpool represented a period of intensive creativity and musical romanticism that still resonates today. The spirit of (internal) revolution at the heart of these bands retains a strong fascination for those interested in artistic creation and popular culture. Given the bleak and uninspiring context within which the bands surfaced, how did these musicians achieve great success? Scouse Pop explores this question in detail, and examines the factors that facilitated the transformation of Liverpool teenage dreams into commercial and cultural impact. The music industry, radio and DJs, producers and engineers, the record-buying public and the bands themselves comprise the heart of this account.

Music, Space and Place examines the urban and rural spaces in which music is experienced, produced and consumed. The editors of this collection have brought together new and exciting perspectives by international researchers and scholars working in the field of popular music studies. Underpinning all of the contributions is the recognition that musical processes take place within a particular space and place, where these processes are shaped both by specific musical practices and by the pressures and dynamics of political and economic circumstances. Important discourses are explored concerning national culture and identity, as well as how identity is constructed through the exchanges that occur between displaced peoples of the world's many diasporas. Music helps to articulate a shared sense of community among these dispersed people, carving out spaces of freedom which are integral to personal and group consciousness. A specific focal point is the rap and hip hop music that has contributed towards a particular sense of identity as indigenous resistance vernaculars for otherwise socially marginalized minorities in Cuba, France, Italy, New Zealand and South Africa. New research is also presented on the authorial presence in production within the domain of the commercially driven Anglo-American music industry. The issue of authorship and creativity is tackled alongside matters relating to the production of musical texts themselves, and demonstrates the gender politics in pop. Underlying Music, Space and Place, is the question of how the disciplines informing popular music studies - sociology, musicology, cultural studies, media studies and feminism - have developed within a changing intellectual climate. The book therefore covers a wide range of subject matter in relation to space and place, including community and identity, gender, race, 'vernaculars', power, performance and production.

The endurance of Pink Floyd's The Dark Side of the Moon on the Billboard Top 100 Chart is legendary, and its continuing sales and ongoing radio airplay ensure its inclusion on almost every conceivable list of rock's greatest albums. This collection of essays provides indispensable studies of the monumental 1973 album from a variety of musical, cultural, literary and social perspectives. The development and change of the songs is considered closely, from the earliest recordings through to the live, filmed performance at London's Earls Court in 1994. The band became almost synonymous with audio-visual innovations, and the performances of the album at live shows were spectacular moments of mass-culture although Roger Waters himself spoke out against such mass spectacles. The band's stage performances of the album serve to illustrate the multifaceted and complicated relationship between modern culture and technology. The album is therefore placed within the context of developments in late 1960s/early 1970s popular music, with particular focus on the use of a variety of segues between tracks which give the album a multidimensional unity that is lacking in Pink Floyd's later concept albums. Beginning with 'Breathe' and culminating in 'Eclipse', a tonal and motivic coherence unifies the structure of this modern song cycle. The album is also considered in the light of modern day 'tribute' bands, with a discussion of the social groups who have the strongest response to the music being elaborated alongside the status of mediated representations and their relation to the 'real' Pink Floyd.

When 'You Really Got Me' exploded on Swinging London in 1964, the Kinks forever changed the course of rock 'n' roll. Ray Davies and Joe Penhall's Olivier Award-winning Sunny Afternoon (2014) covers the band's formative years of 1964-7, when four working- class North London lads broke through to become one of the most unlikely and influential rock bands of the 1960s. Mixing the comic adventures of 'Dave the Rave' with the touching introspection of Ray's sometimes fragile psyche, Joe Penhall's script weaves Ray Davies' songs, both the hits and lesser-known works, into one of the finest jukebox musicals of the new millennium. Drawing on a wealth of background material, John Fleming examines the blend of events and songs selected, reconsidering the relationship between biography and drama to shed new light on the Kinks and the musical that tells their story.

As a popular music, the evolution of jazz is tied to the contemporary sociological situation. Jazz was brought from America into a very different environment in Britain and resulted in the establishment of parallel worlds of jazz by the end of the 1920s: within the realms of institutionalized culture and within the subversive underworld. Tackley (nee Parsonage) demonstrates the importance of image and racial stereotyping in shaping perceptions of jazz, and leads to the significant conclusion that the evolution of jazz in Britain was so much more than merely an extension or reflection of that in America. The book examines the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth and early twentieth centuries. Tackley is particularly concerned with the public perception of jazz in Britain and provides close analysis of the early European critical writing on the subject. The processes through which an evolution took place are considered by looking at the methods of introducing jazz in Britain, through imported revue shows, sheet music, and visits by American musicians. Subsequent developments are analysed through the consideration of modernism and the Jazz Age as theoretical constructs and through the detailed study of dance music on the BBC and jazz in the underworld of London. The book concludes in the 1930s by which time the availability of records enabled the spread of 'hot' music, affecting the live repertoire in Britain. Tackley therefore sheds entirely new light on the development of jazz in Britain, and provides a deep social and cultural understanding of the early history of the genre.

Although academic study of the Grateful Dead began shortly after the group's formation, the dramatic growth of scholarly literature only occurred after the band's formal retirement of the name in 1995. One major incubator of much of this work has been the Grateful Dead area of the Southwest/Texas Popular Culture and American Culture Association. Inaugurated as a separate section in 1998 and nicknamed the Grateful Dead Scholars Caucus, it has produced almost three hundred papers over fifteen years, nearly a third of which have been revised for publication. Caucus presenters have also edited a dozen books and periodical volumes, all of which have drawn on Caucus presentations, some almost exclusively. Studying the Dead: The Grateful Dead Scholars Caucus provides an informal history of the Caucus and sketches its significance as a scholarly community, focusing on its increasing self-awareness, its ability to span diverse disciplinary and theoretical perspectives, and most of all, its contribution to our understanding of the Grateful Dead phenomenon. For the academy as a whole, the Caucus is a fascinating model for the development of discourse communities, from the role of orality to its interrogation of the texts that are derived from them. Remarkable for its interdisciplinary dialogue, the Caucus demonstrates how the nature of the art-and the phenomenon that it studies-can shape these discourses. Though ostensibly aimed at scholars of the Grateful Dead, others who will find this book of interest include students and teachers of popular culture, as well as fans of the band.

Relatively little has been written about film scores and soundtracks outside of Hollywood cinema. Hollywood Theory, Non-Hollywood Practice addresses this gap by looking at the practices of film soundtrack composition for non-Hollywood films made after 1980. Annette Davison argues that since the mid-1970s the model of the classical Hollywood score has functioned as a form of dominant ideology in relation to which alternative scoring and soundtrack practices may assert themselves. The first part of the book explores some of the key theoretical issues and debates in film studies and film music studies. The second part comprises a series of case studies of non-Hollywood scores. Starting with Jean Luc Godard's Prenom: Carmen (1983), Davison argues that the film's score offers a deconstruction of the relationship between sound and image proposed by classical Hollywood film. Derek Jarman's The Garden (1990) takes the debate a step further in its exploration of the possibility that a film's soundtrack may be liberated from slavery to the image track. Wings of Desire (1987) directed by Wim Wenders offers, Davison believes, a negotiation between classical and alternative scoring and soundtrack practices; while David Lynch's Wild at Heart (1990) actually fully integrates scoring and soundtrack practices so that sounds and dialogue are used in musical ways. Seeking to stimulate debate about the aesthetics and interpretation of film scores and soundtracks in general, this book develops an important synthesis of film studies and musicology.

During the five years it has taken to collate this work, authors Weird and Gilly have spoken to over fifty family members, close friends and colleagues including exclusive interviews with Suzi Ronson, David and Maggi Ronson (brother and sister), Minnie Ronson (mother), Steve Popovich (manager), Lou Reed, Mick Jones, Ian Hunter, Chrissie Hynde, Glen Matlock, Cherry Vanilla, Steve Harley, Bob Harris, Joe Elliott and a host of others. As a result, this book provides a deeply intimate and compelling insight into the life and times of an extraordinarily talented guitarist. A man who was tender and caring off the stage, yet fierce and electrifying on it. Jeff Beck, David Bowie, Ian Hunter and Annette Peacock are just a few of the names that were to become associated with the Mick Ronson legend. He toured with Bob Dylan, played with Mott The Hoople, worked with Lou Reed and produced an impressive number of albums with arresting originality. From his days as a mobile grocer to his performances at Wembley Stadium, this minutely detailed biography also includes scores of unpublished photographs and unseen rarities including: a hand-written six-page autobiography by the man himself, love letters to his first girlfriend, family album photographs and an exhaustive discography. After losing his battle with cancer, Mick passed away in the spring of 1993 at the young age of 46. This book is a salute to his remarkable music and legacy. Fully revised and updated with scores of new unpublished photographs and even more rare memorabilia.

MTV is the third major breakthrough in music broadcasting, and the first since the late 1960s. "Top Forty" radio was initiated in the 1950s, and along with "free form" or "progressive" rock molded rock music exposure for nearly twenty years. Many observers credit MTV with resurrecting the music industry from the throes of the Great Depression of 1979. Few would dispute its impact on contemporary film, fashion, and radio.

"Inside MTV "examines the world of cablecasting, the evolution of WASEC, MTV, VH-1, and some of their competitors. The strategies, personalities, promotions, and the contents that placed MTV on the road to its dominant position are described. The many controversies surrounding the channel are thoroughly detailed, and a good deal of the misinformation on the subject is corrected.

It is a mere five years since MTV began as the third of four Warner-Amex Satellite Entertainment Company (WASEC) channels, created by two of America's largest conglomerates. Since then, it has become a major force. Before MTV was conceived the relationship between television and rock music was weak, at best. As the new partnership .developed, a story of genius, luck, and discrimination began to unfold, and a corporate innovation of major proportions and psychodemographic success emerged.

MTV is now the most profitable 24-hour cable outlet beamed from a satellite. It reaches 30.8 million households. How all this happened is chronicled in this major new book from a leading authority on the American music business.

The International Who's Who in Popular Music 2017 gives biographical information and contact details for some of the most talented and influential artists and individuals from the world of popular music. Now in its nineteenth edition, there are over 7,000 biographies charting the careers and achievements of artists in pop, rock, folk, jazz, dance, world, country music and much more. Key Features: - each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information where available - each entrant is given the opportunity to update his or her information - spans the full range of the popular music industry, from rock to jazz and dance to country - provides information on established names as well as up-and-coming artists - a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources - for ease of reference, the book includes an index of music group members. In one accessible volume this title offers users a vast collection of information on the most famous and influential people in the popular music industry.

Recent scholarship has offered a veritable landslide of studies about early modern women, illuminating them as writers, thinkers, midwives, mothers, in convents, at home, and as rulers. Musical Voices of Early Modern Women adds to the mix of early modern studies a volume that correlates women's musical endeavors to their lives, addressing early modern women's musical activities across a broad spectrum of cultural events and settings. The volume takes as its premise the notion that while women may have been squeezed to participate in music through narrower doors than their male peers, they nevertheless did so with enthusiasm, diligence, and success. They were there in many ways, but as women's lives were fundamentally different and more private than men's were, their strategies, tools, and appearances were sometimes also different and thus often unstudied in an historical discipline that primarily evaluated men's productivity. Given that, many of these stories will not necessarily embrace a standard musical repertoire, even as they seek to expand canonical borders. The contributors to this collection explore the possibility of a larger musical culture which included women as well as men, by examining early modern women in "many-headed ways" through the lens of musical production. They look at how women composed, assuming that compositional gender strategies may have been used differently when applied through her vision; how women were composed, or represented and interpreted through music in a larger cultural context, and how her presence in that dialog situated her in social space. Contributors also trace how women found music as a means for communicating, for establishing intellectual power, for generating musical tastes, and for enhancing the quality of their lives. Some women performed publicly, and thus some articles examine how this impacted on their lives and families. Other contributors inquire about the economics of music and women, and how in different situations some women may have been financially empowered or even in control of their own money-making. This collection offers a glimpse at women from home, stage, work, and convent, from many classes and from culturally diverse countries - including France, Spain, Italy, England, Austria, Russia, and Mexico - and imagines a musical history centered in the realities of those lives.

English pop music was a dominant force on the global cultural scene in the decades after World War II - and it served a key role in defining, constructing and challenging various ideas about Englishness in the period. Kari Kallioniemi covers a stunning range of styles of pop - from punk, reggae and psychedelia to jazz, rock, Brit Pop and beyond - as he explores the question of how various artists (including such major figures as David Bowie and Morrissey), genres and pieces of music contributed to the developing understanding of who and what was English in the transformative post-war years. Publication Forum (Finland) lists this book as a Level 2 publication, where 'the highest-level publications are directed as a result of extensive competition and demanding peer-review'.For Intellect's full listings in this catalogue, please click here.

Recounts the life of the first Duke of Buckingham, describes his relationships with James I and Charles I, and examines his role in English politics.

Traversing power metal, acoustic introspect and finally settling on their breakthrough cinematic sound, Finnish heavyweights Nightwish are the leading name in the sumptuous world of symphonic metal. Having tackled numerous high-profile line-up changes, each threatening to derail the grand vehicle of spirit curated by founder Tuomas Holopainen, their every turn has been documented across nine studio records. Whilst the surface presents the Nightwish discography as a feast of metaphor and imagination, it's in the undercurrent that the vulnerability of the compositions are revealed; the fury of 'Master Passion Greed' detailing the acrimonious split with vocalist Tarja Turunen, the melancholia permeating Century Child and the awe-inspiring ode to evolution of Endless Forms Most Beautiful. This book analyses every song released by the group, from their Angels Fall First debut to 2020's Human. :||: Nature., discussing inimitable singles 'Nemo' and the begrudgingly composed 'Sleeping Sun' as well as patriotic sport soundtracks, impromptu live outings and curious cover versions. Nightwish On Track also discusses the abundant live releases and compilations from their career to date and gathers together an exhaustive list of the band's B-sides and rarities.

A tell-all biography of the epic in-fighting of the Grateful Dead in the years following band leader Jerry Garcia's death in 1995 The Grateful Dead rose to greatness under the inspired leadership of guitarist Jerry Garcia, but the band very nearly died along with him. When Garcia passed away suddenly in August of 1995, the remaining band members experienced full crises of confidence and identity. So long defined by Garcia's vision for the group, the surviving "Core Four," as they came to be called, were reduced to conflicting agendas, strained relationships, and catastrophic business decisions that would leave the iconic band in shambles. Wrestling with how best to define their living legacy, the band made many attempts at restructuring, but it would take twenty years before relationships were mended enough for the Grateful Dead as fans remembered them to once again take the stage. Acclaimed music journalist and New York Timesbestselling author Joel Selvin was there for much of the turmoil following Garcia's death, and he'll offer a behind-the-scenes account of the ebbs and flows that occurred during the ensuing two decades. Plenty of books have been written about the rise of the Grateful Dead, but this final chapter of the band's history has never before been explored in detail. Culminating in the landmark tour bearing the same name, Fare Thee Wellcharts the arduous journey from Garcia's passing all the way up to the uneasy agreement between the Core Four that led to the series of shows celebrating the band's fiftieth anniversary and finally allowing for a proper, and joyous, sendoff of the group revered by so many.

Woodrow Wilson Guthrie (1912-67) has had an immense impact on popular culture throughout the world. His folk music brought traditional song from the rural communities of the American southwest to the urban American listener and, through the global influence of American culture, to listeners and musicians alike throughout Europe and the Americas. Similarly, his use of music as a medium of social and political protest has created a new strategy for campaigners in many countries. But Guthrie's music was only one aspect of his multifaceted life. His labour-union activism helped embolden the American working class, and united such distinct groups as the rural poor, the urban proletariat, merchant seamen and military draftees, contributing to the general call for workers' rights during the 1930s and 1940s. As well as penning hundreds of songs (both recorded and unrecorded), Guthrie was also a prolific writer of non-sung prose, writing regularly for the American communist press, producing volumes of autobiographical writings and writing hundreds of letters to family, friends and public figures. Furthermore, beyond music Guthrie also expressed his creative talents through his numerous pen-and-ink sketches, a number of paintings and occasional forays into poetry. This collection provides a rigorous examination of Guthrie's cultural significance and an evaluation of both his contemporary and posthumous impact on American culture and international folk-culture. The volume utilizes the rich resources presented by the Woody Guthrie Foundation.

Made in Sweden: Studies in Popular Music serves as a comprehensive and rigorous introduction to the history, sociology and musicology of twentieth-century Swedish popular music. The volume consists of essays by leading scholars of Swedish popular music and covers the major figures, styles and social contexts of pop music in Swedish. Although the vast majority of the contributors are Swedish, the essays are expressly written for an international English-speaking audience. No knowledge of Swedish music or culture will be assumed. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Swedish popular music; each section features a brief introduction by the volume editors. The book presents a general description of the history and background of Swedish popular music, followed by essays that are organized into thematic sections: The Historical Development of the Swedish Popular-Music Mainstream; The Swedishness of Swedish Popular-Music Genres; Professionalization and Diversification; and Swedish Artist Personas. Contributors: Jonas Bjalesjoe Alf Bjoernberg Thomas Bossius Peter Dahlen Olle Edstroem Karin L. Eriksson Rasmus Fleischer Sverker Hylten-Cavallius Lars Lilliestam Ulf Lindberg Morten Michelsen Susanna Nordstroem Marita Rhedin Henrik Smith-Sivertsen Ann Werner Kajsa Widegren

First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Music, whether performed or heard, has been seen as therapeutic in the history of many cultures. How have its therapeutic properties been conceptualized and explained? Which cultures have used music therapy? What were their aims and techniques, and how much continuity is there between ancient, medieval and modern practice? These are the questions addressed by the essays in this volume. They focus on the place of music therapy in European intellectual, medical and musical traditions, from their classical roots to the development of the music therapy profession since the Second World War. Chapters covering the Judaic, Islamic, Indian and South-East Asian traditions add global, comparative perspectives. Music as Medicine is the first book to establish the whole shape of the history of music therapy in a systematic and scholarly way. It addresses the problem of defining what music therapy has meant in different cultures and periods, and sets the agenda for future research in the subject. It will appeal to a diverse readership of historians, musicologists, anthropologists, and practitioners.

Emilia Barna is Assistant Professor at the Budapest University of Technology and Economics. She is a founding member and Chair of IASPM Hungary, editor of Zenei Halozatok Folyoirat (Music Networks Journal), and Advisory Board Member of IASPM@Journal. Tamas Tofalvy is Assistant Professor at the Budapest University of Technology and Economics. He was the founding Chair and is the current Vice-Chair of IASPM Hungary.