The Bloomsbury Encyclopedia of Popular Music Volume 7 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of Europe in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including Paolo Prato on Italy and Alf Bjoernberg on Sweden. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

The Bloomsbury Encyclopedia of Popular Music Volume 6 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of African and the Middle East in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including John Collins on Ghana, Moya Aliya Malamusi on Malawi, and, Motti Regev on Israel. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

The Bloomsbury Encyclopedia of Popular Music Volume 5 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of Asia and Oceania in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including Toru Mitsui on Japan and Bruce Johnson on Australia. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

The Bloomsbury Encyclopedia of Popular Music Volume 4 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of North America in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 90 entries written by more than 60 leading popular music scholars and practitioners, including Richard Peterson on Nashville, Amy Ku'uleialoha Stillman on Hawai'I, and David Laing on Los Angeles. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

The Bloomsbury Encyclopedia of Popular Music Volume 3 is one of five volumes within the 'Locations' strand of the series. This volume discusses popular music of the Caribbean and Latin America in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 90 entries written by more than 60 leading popular music scholars and practitioners, including Jose de Menezes Bastos on Brazil and Peter Manuel on India and the Caribbean Islands. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Provides a comprehensive description and analysis into the use of music information retrieval, from the data management perspective.

From advertising to zydeco, this volume provides a guide to scholarly literature on the popular music of the world. It covers non-biographical aspects of the field, including genres, the industry, social and cultural contexts, musical practices, geographical locations and theory and method.

The first comprehensive reference work on popular music of the world Contributors are the world's leading popular music scholars Includes extensive bibliographies, discographies, sheet music listings and filmographies This second volume consists of some 460 entries by 130 contributors from around the world. Entries range between 250 and 5000 words, and are arranged in four parts: Part I: Performers and Performing; Part II: Musical Production and Transmission; Part III: Musical Instruments; Part IV: Musical Forms and Practice. Entries include musical examples, bibliographies, discographies and filmographies. An extensive index is also provided. Contents: Preface Part I: Performers and Performing Groups Individuals Performance Techniques Part II: Musical Production and Transmission Personnel Processes: Interpretative/Technological Technologies Part III: Musical Instruments Found Instruments Guitars Keyboard Instruments Mechanical Instruments Percussion Instruments Stringed Instruments Voice Wind Instruments Part IV: Musical Form and Practice Form Harmony Melody Rhythm The Piece Timbre Words, Images and Movement Index

Sixties children grew up in a more permissive and commercial age. They enjoyed a childhood in which new vaccines gave children protection from life threatening diseases while the contraceptive pill meant smaller family groups. A controversial programme of comprehensive education began to be rolled out while primary schools would become less rigid and more centred on the needs of the child. This was also the first young generation not to be conscripted into the armed forces. Rising prosperity and rapid technological advances meant more children lived in homes with refrigerators, washing machines and science-inspired toys. Parents had more leisure time to spend with their children and television became the norm. Sixties children routinely travelled in cars and went on family holidays, increasingly abroad. Sweets and toys were plentiful in this first full decade without rationing. Teenagers had money to spend on fashion, pop music and, worryingly, drugs. The Beatles began to dominate the vinyl record market. This book is part of the Britain's Heritage series, which provides definitive introductions to the riches of Britain's past, and is the perfect way to get acquainted with a 1960s childhood in all its variety.

Over thirty years later, the 'winter of discontent' of 1978-1979 still resonates in British politics. On 22 January 1979, one and a half million workers were on strike. Industrial unrest swept Britain in an Arctic winter. Militant shop stewards blocked medical supplies to hospitals; mountains of rubbish remained uncollected; striking road hauliers threatened to bring the country to a standstill; even the dead were left unburied. Within weeks, the beleaguered Callaghan Labour Government fell from power. In the 1979 general election, Margaret Thatcher became Prime Minister, beginning eighteen years of unbroken Conservative rule. Based on a wide range of newly available historical sources and key interviews, this full-length account breaks new ground, analysing the origins, character and impact of a turbulent period of industrial unrest. This important study will appeal to all those interested in contemporary history and British politics.

In Tin Pan Alley we see the beginnings of the pop world as we now know it: commercial, constantly capturing, exploiting or even occasionally creating a public mood. The Alleymen were workers as much as artists. This book, first published in 1982, explores how the change occurred, the ways in which songwriters organised themselves to get greater control over their products, the social circumstances that influenced their choice of subject-matter, the new forms, such as the integrated musical, developed for maximum appeal, the vast publicity structure built to market the merchandise, and, of course, the many stars who came to fame by taking a walk down the Alley.

British labour history has been one of the dominating areas of historical research in the last sixty years and this book, written in honour of Professor Chris Wrigley, offers a collection of essays written by leading British labour historians of that subject including Ken Brown, Malcolm Chase and Matthew Worley. It focuses upon trade unionism, the co-operative movement, the rise and fall of the Labour Party, and working-class lives, comparing British labour movements with those in Germany and examining the social and political labour activities of the Lansburys. There is, indeed, some important work connected with the cultural developments of the British labour movement, most obviously in the essay written by Matthew Worley on communism and Punk Rock. -- .

Over thirty years later, the 'winter of discontent' of 1978-79 still resonates in British politics. On 22 January 1979, 1.5 million workers were on strike and industrial unrest swept Britain in an Arctic winter. Militant shop stewards blocked medical supplies to hospitals, mountains of rubbish remained uncollected, striking road hauliers threatened to bring the country to a standstill. Even the dead were left unburied. Within weeks, the beleaguered Callaghan Labour government fell from power. In the 1979 general election, Margaret Thatcher became Prime Minister, beginning eighteen years of unbroken Conservative rule. Based on a wide range of newly available historical sources and key interviews, this full-length account, now available in paperback, breaks new ground, analysing the origins, character and impact of a turbulent period of industrial unrest. -- .

The Routledge Reader on the Sociology of Music offers the first collection of source readings and new essays on the latest thinking in the sociology of music. Interest in music sociology has increased dramatically over the past decade, yet there is no anthology of essential and introductory readings. The volume includes a comprehensive survey of the field's history, current state and future research directions. It offers six source readings, thirteen popular contemporary essays, and sixteen fresh, new contributions, along with an extended Introduction by the editors. The Routledge Reader on the Sociology of Music represents a broad reference work that will be a resource for the current generation of sociologically inclined musicologists and musically inclined sociologists, whether researchers, teachers or students.

Britain is no longer the sole organizing centre for cultural studies. The contributors to this volume demonstrate how cultural studies has diffused into other English-speaking countries and how its original concerns have been renegotiated and changed. The result is a landmark book which provides students with an unrivalled guide to the international phenomenon of cultural studies.

Whose Music? combines historical, musicological, and sociological materials and styles of analysis in ways that connect to the field of sociology. The analyses of social class systems presented here speak in translatable ways to analyses of musical forms. Not only that, both are connected to an understanding of the organizations through which works are distributed to their audiences. Perhaps most importantly for the contemporary reader, this book depicts the part of the process by which dominant class groups justify their domination--cultural and otherwise.

eBook available with sample pages: HB:041506368X

"Rock and Popular Music" examines the relations between the policies and institutions which regulate contemporary popular music and the political debates, contradictions and struggles in which those musics are involved. International in its scope and conception, this innovative collection brings together some of the most authoritative writers on rock and popular music in North America, Europe and Australia. The essays explore and develop three main areas of debate. First, comparative examinations of the role played by governments in either supporting or inhibiting the development of popular music industries reveal a significant diversity of relations between the state and the musical sphere. A second theme demonstrates the important role of broadcasting policies in organizing the "audio-spaces" within which particular musical communities can be formed and seek expression, and finally the book reconsiders some of the classical political issues of rock and popular music theory and debate in the context of their specific policy and institutional settings.

This collection constitutes a salutory demonstration that Britain no longer serves as the centre for cultural studies. Engaging the critical discourses of feminism, postmodernism and postcolonialism, the contributions explore the renegotiations and changes in cultural studies in the wake of its export from Britain. In particular, the volume shows how to understand the experiences of marginalized groups, including women and aboriginal peoples in postcolonial states. Questions about the ongoing globalization of capital and culture are linked to constructions of national, local and individual identities. The alternative relocations of cultural studies offered here manifest two not incommensurate trends: Some contributors consider how textual processes of representation articulate with exclusionary practices. Others keep alive a sense of politics in respect of institutional and policy debates. The result is an invigorated cultural studies which moves between theory and practice, gives primacy to tensions between extra-local centres of political and economic power, and considers lived experiences within their specific geo-cultural contexts.

From the recording industry in Canada to urban regeneration in Liverpool, this issue of Cultural Studies explores the role of the music industry in a changing world.

The first comprehensive reference work on popular music of the world Contributors are the world's leading popular music scholars Includes extensive bibliographies, discographies, sheet music listings and filmographies This is the first volume in a series of encyclopedic works covering popular music of the world. Consisting of some 500 entries by 130 contributors from around the world. Entries range between 250 and 5000 words, and is arranged in two Parts: Part 1: SOcial and Cultural Dimensions, covering the social phenomena of relevance to the practice of popular music. Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided. Contents: Preface List of contributors List of abbreviations Arrangement of the Material Part I: Social and Cultural Dimensions Documentation Popular Music Studies Social Phenomena Stylistic and Textual Dimensions Venues Part II: The Industry General Terms Audio Technical Terms Broadcasting Copyright Deals and Contracts The Film Industry and Popular Music Instrument Manufacture Management and Marketing Publishing Recording: Record Corporations: Recording Studios; Record Labels/Companies Unions Index

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