This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.

In this lively examination of youth and their relationship to music, first published in 1994, contributors cover issues ranging from the place of music in urban subculture and what music tells us about adolescent views on love and sex, to the political status of youth and youth culture.

We All Want to Change the World provides a cogent and fascinating evaluation of post-World War II American commercial music and its complex, multi-faceted impact on the world of politics. Tom Waldman offers articulate and compulsively readable insights into such issues as: John Lennon and Yoko Ono's fiercely political period and its decidedly mixed effect on both of their careers and the causes they championed; the violence that erupted over the Sex Pistols' performance of "God Save the Queen" at Her Majesty's Silver Jubilee; Ronald Reagan's misinterpretation of "Born in the USA"; popular song and feminism and gender issues in the political sphere; the recent trend of rock tunes being reworked as campaign songs, such as Fleetwood Mac's "Don't Stop," and Sam and Dave's "Dole Man"; and much more. There is also extensive commentary on the events of September 11th, when many of the biggest names in the history of rock music took part in two benefits to raise money for the victims' families and to lift the spirits of the country.

Written for Introductory Sociology and Sociology of Popular Music courses, this book uses popular music to illustrate fundamental social institutions, theories, sociological concepts, and processes. The authors use music, a social phenomenon of great interest, to draw students in and bring life to their study of social life.

Acoustic Blues Guitar Styles is an introduction to fingerstyle acoustic blues guitar, the style made popular by Robert Johnson, Bill Broonzy, and Mance Lipscomb. Following the success of the popular Acoustic Guitar Styles, Larry Sandberg's Acoustic Blues Guitar Styles is an instructional book geared towards the intermediate guitar player, not only to teach fingerstyle blues technique, but also to approach the music creatively and with feeling and rhythm. Part One teaches you the preliminaries, such as reading a chord chart and working out a 12-bar blues in different keys. Part Two teaches you touch, timing, and basic fingerpicking technique. Part Three teaches you how to play stylistically, with lessons on how to incorporate bends, vibrato, alternating bassnotes, and rhythmic variations into your playing. All musical exercises are presented in both standard notation and tablature, and are supported by audio tracks. Customers purchasing the eBook version of this title will be able to download the supporting audio tracks. Instructions on downloading the files can be found on the contents page.

Originally published in 1995. This book's collection of key essays presents a coherent overview of touchstone statements and issues in the study of Anglo-American popular ballad traditions and suggests ways this panoramic view affords us a look at Euro-American scholarship's questions, concerns and methods. The study of ballads in English began early in the eighteenth century with Joseph Addison's discussions which marked the onset of an aesthetic and scholarly interest in popular traditions. Therefore the collection begins with him and then chronologically includes scholars whose views mark pivotal moments which taken together tell a story that does not emerge through an examination of the ballads themselves. The book addresses debates in tradition, orality, performance and community as well as national genealogies and connections to contexts. Each selected piece is pre-empted by an introductory section on its importance and relevance.

WhenYou Really Got Me exploded on Swinging London in 1964, the Kinks forever changed the course of rockn roll. Ray Davies and Joe Penhall's Olivier Award-winning Sunny Afternoon (2014) covers the bands 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 ofDave 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.

This comprehensive reference guide provides: 1,300+ chords in treble and bass clef notation; 42 chord qualities with multiple voicings for most chords; keyboard diagrams for each chord; and music theory info to aid in chord construction. A must for every piano player!

The plane crash of 3 February 1959 which claimed the life of Buddy Holly was both a human tragedy, and a tragedy for rock'n'roll. In a little under two years, Holly and his band -- the Crickets -- had become major stars, thanks to their high standard of musicianship and a string of memorable hits including 'That'll Be The Day', 'Rave On', 'Peggy Sue', 'Oh Boy!' and 'Heartbeat', only for their career to be cruelly cut short. After his death, Holly's records continued to sell in quantity for many years -- a testament to his massive influence and the lasting popularity of his music. It may sound strange now, but in those monochrome, pre-Internet days very little was actually known about the singer with the unusual name and the hiccup in his voice -- a situation that persisted until the appearance of John Goldrosen's pioneering biography in 1975. Since then, much more information has been uncovered, thanks to decades of research by dedicated fans. This book draws together a mass of Holly facts and info from a variety of published sources, as well as the author's own original research, and presents them in an easy-to-use encyclopaedic format. Now in its third edition, it has proved to be a popular and valuable reference work on this seminal rock'n'roller. This is a book that every Holly fan will want to keep at his fingertips. A book about a musical genius who will never be forgotten.

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.

Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it. Drawing on a series of interviews with musicians aged between fifteen and fifty, Lucy Green explores the nature of pop musicians' informal learning practices, attitudes and values, the extent to which these altered over the last forty years, and the experiences of the musicians in formal music education. Through a comparison of the characteristics of informal pop music learning with those of more formal music education, the book offers insights into how we might re-invigorate the musical involvement of the population. Could the creation of a teaching culture that recognizes and rewards aural imitation, improvisation and experimentation, as well as commitment and passion, encourage more people to make music? Since the hardback publication of this book in 2001, the author has explored many of its themes through practical work in school classrooms. Her follow-up book, Music, Informal Learning and the School: A New Classroom Pedagogy (2008) appears in the same Ashgate series.

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.

'Every Sound There Is': Revolver and the Transformation of Rock and Roll assesses and celebrates the Beatles' accomplishment in their 1966 masterpiece. The essays of Every Sound There Is examine Revolver from a large number of complementary starting points that help us to understand both the album's contemporary creation and reception and the ways in which it continues to shape the creation and reception of popular music in the twenty-first century. Responding to the incredible diversity of Revolver, this gathering of international scholars focuses on the Beatles' 1966 album as one of rock and roll history's threshold moments. Bringing to bear approaches from the disciplines of musicology, cultural studies, poetics, gender studies, these essays address matters as diverse as the influence of American R&B on Revolver as well as its influence on Pink Floyd, each Beatle's contributions to the album, the musicological significance of the Beatles' harmonies and chord progressions, its status and coherence as a work of art, the technological and marketing significance of Revolver's recording and distribution, and its influence on the development of rock music.

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.

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.

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.

This thoroughly revised second edition of Allan Moore's ground-breaking book features new sections on melody, Britpop, authenticity, intertextuality, and an extended discussion of texture. Rock's 'primary text' - its sounds - is the focus of attention here. Allan Moore argues for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock and subsequent styles. He also explores the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.

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.

Consider this paradox - for many people, rock is dead, crushed by the weight of its own success and popularity, little more than a voice of mainstream commercial entertainment. But for many others, especially among the new conservative Right, rock poses a greater threat now than ever before. What is it about rock that makes it so important in contemporary political struggles?;Bringing together cultural, political and economic analyses, Lawrence Grossberg offers an interpretation of the contemporary politics of both rock and popular culture. "We Gotta Get Out of This Place" explores four histories: the changing role of rock in everyday life; the emergence of an affective and popular conservatism; the crisis of contemporary capitalism; and the apparent inability of the Left to respond to these changes. These critical developments are bound together by their concern with postmodernity, understood as both a structure of everyday life and as a sensibility of popular culture. Everyone wants to get out of this place, but only the Right seems to have found a way to benefit from where we are. Bringing together cultural, political and economic analyses, Grossberg offers an interpretation of

A Catholic high school near Boston in 1985. A time of suicides, gymnasium humiliations, smoking for beginners, asthma attacks, and incendiary teenage infatuations. Infatuations with a girl (Allison), with a band (The Smiths) and with an album, Meat is Murder, that was so raw, so vivid and so melodic that you could cling to it like a lifeboat in a storm. In this brilliant novella Joe Pernice tells the story of an asthmatic kid's discovery of Meat is Murder. Here is a short exceropt: One morning as I was jogging my way past the bronze plaque commemorating the deaths of one student and one motorcyclist, my necktie flapping like a windsock, Ray floored the brake pedal of his Dodge as he closed in on me. Fifty mile an hour traffic came to a screeching, nearly murderous halt behind him. He leaned over and rolled down the passenger side window in one fluid motion. He dispensed with formalities while I marveled at the audacity of his driving and, tossing something at me, winked and said, Here. I'm going to kill myself. He pegged the gas, leaving a surprisingly good patch of rubber for such a shitty car. In the gutter, sugared with sand put down during the winter's last snow, I saw written in red felt ink on masking tape stuck to a smoky-clear cassette: Smiths: Meat.

The Space Between the Notes examines a series of relationships central to sixties counter-culture: psychedelic coding and rock music, the Rolling Stones and Charles Manson, the Beatles and the `Summers of love', Jimi Hendrix and hallucinogenics, Pink Floyd and space rock. Sheila Whiteley combines musicology and socio-cultural analysis to illuminate this terrain, illustrating her argument with key recordings of the time: Cream's She Walks Like a Bearded Rainbow, Hendrix's Hey Joe, Pink Floyd's Set the Controls For the Heat of the Sun, The Move's I Can Hear the Grass Grow, among others.
The appropriation of progressive rock by young urban dance bands in the 1990s make this study of sixties and seventies counter-culture a timely intervention. It will inform students of popular music and culture, and spark off recognition and interest from those that lived through the period as well as a new generation that draw inspiration from its iconography and sensibilities today.

In 1985, Mark Bryan heard Darius Rucker singing in a dorm shower at the University of South Carolina and asked him to form a band. For the next eight years, Hootie & the Blowfish-completed by bassist Dean Feldman and drummer Soni Sonefeld-played every frat house, roadhouse, and rock club in the mid-Atlantic and Southeast, becoming one of the biggest independent acts in the region.In Only Wanna Be with You, Tim Sommer, the ultimate insider who signed the band to Atlantic Records in 1993, pulls back the curtain on the band's indie days; the chart-topping success of their major-label debut, cracked rear view; the year of Hootie (1995); the lean years; Darius Rucker's history-making rise in country music; and one of the most remarkable comeback stories of the century. Featuring new and extensive interviews with the band members, some of the band's most famous fans, and stories from the recording studio, tour bus, and golf course, this book is essential reading for Hootie lovers and music buffs.

* Intense focus on the emergence of a new, post-Civil Rights Movement black identity * Offers an alternative history and musicology of the Black Power Movement * Defines Black Power Music - a musical and political reality * Explores the intense interconnections between black popular culture and black political culture * Essential reading for all students engaged in black popular music studies, African American studies, popular culture studies, ethnic studies as well as sociology, ethnomusicology and political science.

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.