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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.
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.
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
Children of the 1950s have much to look back on with fondness:
Muffin the Mule, Andy Pandy, and Dennis the Menace became part of
the family for many, while for others the freedom of the riverbank
or railway platform was a haven away from the watchful eyes of
parents. The postwar welfare state offered free orange juice, milk
and healthcare, and there was lots to do, whether football in the
street, a double bill at the cinema, a game of Ludo or a spot of
roller-skating. But there were also hardships: wartime rationing
persisted into the '50s, a trip to the dentist was a painful
ordeal, and at school discipline was harsh and the Eleven-Plus exam
was a formidable milestone. Janet Shepherd and John Shepherd
examine what it was like to grow up part of the Baby Boomer
generation, showing what life was like at home and at school and
introducing a new phenomenon - the teenager.
Afraid of training with weights? Worried of putting on muscles?
Think again. Strength training is for women. This book is the
ultimate guide to toning up, burning fat and getting the body you
want. It shows you why women should train with weights and why you
should not be afraid of them. Dispelling the myth that weight
training makes a woman 'bulky and unfeminine', the book shows that
weights and resistance training methods could be the single most
important element in your fitness regime. Packed with full-colour
photos and descriptions of over 30 exercises, the book gives you
advice on how to put together a resistance training programme as
well as how to interchange exercises. Motivational, it also gives
three 6-week workout programmes to achieve a stronger, fitter and
firmer body. This is the ideal companion to get the best toned body
you've always wanted. Strength training is for women.
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. -- .
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 1978-1979
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.
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.
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.
"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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