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The Routledge Companion to Popular Music History and Heritage
examines the social, cultural, political and economic value of
popular music as history and heritage. Taking a cross-disciplinary
approach, the volume explores the relationship between popular
music and the past, and how interpretations of the changing nature
of the past in post-industrial societies play out in the field of
popular music. In-depth chapters cover key themes around
historiography, heritage, memory and institutions, alongside case
studies from around the world, including the UK, Australia, South
Africa and India, exploring popular music's connection to culture
both past and present. Wide-ranging in scope, the book is an
excellent introduction for students and scholars working in
musicology, ethnomusicology, popular music studies, critical
heritage studies, cultural studies, memory studies and other
related fields.
The Routledge Companion to Popular Music History and Heritage
examines the social, cultural, political and economic value of
popular music as history and heritage. Taking a cross-disciplinary
approach, the volume explores the relationship between popular
music and the past, and how interpretations of the changing nature
of the past in post-industrial societies play out in the field of
popular music. In-depth chapters cover key themes around
historiography, heritage, memory and institutions, alongside case
studies from around the world, including the UK, Australia, South
Africa and India, exploring popular music's connection to culture
both past and present. Wide-ranging in scope, the book is an
excellent introduction for students and scholars working in
musicology, ethnomusicology, popular music studies, critical
heritage studies, cultural studies, memory studies and other
related fields.
Regurgitator’s second full-length album, Unit (1997), was
produced in a DIY warehouse studio at a time when this was unusual
for a major label band. The album went three times Platinum in
Australia and won five esteemed ARIA Awards in 1998, including
Album of the Year. The album’s success is indicative of a
particular point in time in popular music trends, when the world
was recovering from the impact of grunge and post-grunge bands.
Regurgitator’s subversive attitude toward pop music, punk
aesthetic, unique lyrical narratives and an ironic view on their
own creative product made their music potent in an alternative
market defying the prevailing music trends. Unit and Regurgitator
were the focus of divisive critical reviews, yet they continue to
rank highly as a quintessentially Australian band. This volume
situates the development of Unit amongst the DIY culture of a
politically charged Brisbane scene, and breaks down the album
through the lens of recording and songwriting processes. This book
outlines the impact of Regurgitator’s music locally and globally,
by discussing what made Unit a success at the peak of the
alternative music genre.
The process of creating and reflection upon autobiographical memory
is an everyday practice that is typical within the human
experience. When music becomes integrated into personal memories,
an invitation to remember is provided through both purposeful
listening activities and incidental engagement with music in the
everyday. The result is a metaphorical canon of music that
accompanies life experiences. The Lifetime Soundtrack investigates
musically motivated autobiographical memories as they relate to the
lifetime soundtrack in order to provide further understanding of
their occurrence, nuance, emotionality, and function for
individuals. Drawing on in-depth discussions with younger and older
adults, each chapter reflects on a common theme or aspect of
musically motivated memory. People, places, and eras feature
frequently, with memories of childhood, family, past romantic
relationships, and the major and minor events occurring within them
acting as prime sites for memory and music interaction. The book
also considers the ways in which musically memory may manifest
differently for trained musicians, for whom music represents both
leisure and work. Forging a broad foundation in an overlooked area,
this study brings together sociological views on the personal use
of music and existing ideas on the workings of human memory. At the
same time, it aims to fortify the concept of the Lifetime
Soundtrack as a sociological concept with broad application in
future research. In so doing, the book highlights the significance
of music-enhanced reflection as a tool for the composition of
meaning within everyday life.
Curating Pop speaks to the rapidly growing interest in the study of
popular music exhibitions, which has occurred alongside the
increasing number of popular music museums in operation across the
world. Focusing on curatorial practices and processes, this book
draws on interviews with museum workers and curators from twenty
museums globally, including the Country Music Hall of Fame in
Nashville, the Experience Music Project in Seattle and the
PopMuseum in Prague. Through a consideration of the subjective
experiences of curators involved in the exhibition of popular music
in museums in a range of geographic locations, Curating Pop
compares institutional practices internationally, illustrating the
ways in which popular music history is presented to visitors in a
wider sense.
Curating Pop speaks to the rapidly growing interest in the study of
popular music exhibitions, which has occurred alongside the
increasing number of popular music museums in operation across the
world. Focusing on curatorial practices and processes, this book
draws on interviews with museum workers and curators from twenty
museums globally, including the Country Music Hall of Fame in
Nashville, the Experience Music Project in Seattle and the
PopMuseum in Prague. Through a consideration of the subjective
experiences of curators involved in the exhibition of popular music
in museums in a range of geographic locations, Curating Pop
compares institutional practices internationally, illustrating the
ways in which popular music history is presented to visitors in a
wider sense.
Regurgitator’s second full-length album, Unit (1997), was
produced in a DIY warehouse studio at a time when this was unusual
for a major label band. The album went three times Platinum in
Australia and won five esteemed ARIA Awards in 1998, including
Album of the Year. The album’s success is indicative of a
particular point in time in popular music trends, when the world
was recovering from the impact of grunge and post-grunge bands.
Regurgitator’s subversive attitude toward pop music, punk
aesthetic, unique lyrical narratives and an ironic view on their
own creative product made their music potent in an alternative
market defying the prevailing music trends. Unit and Regurgitator
were the focus of divisive critical reviews, yet they continue to
rank highly as a quintessentially Australian band. This volume
situates the development of Unit amongst the DIY culture of a
politically charged Brisbane scene, and breaks down the album
through the lens of recording and songwriting processes. This book
outlines the impact of Regurgitator’s music locally and globally,
by discussing what made Unit a success at the peak of the
alternative music genre.
The process of creating and reflection upon autobiographical memory
is an everyday practice that is typical within the human
experience. When music becomes integrated into personal memories,
an invitation to remember is provided through both purposeful
listening activities and incidental engagement with music in the
everyday. The result is a metaphorical canon of music that
accompanies life experiences. The Lifetime Soundtrack investigates
musically motivated autobiographical memories as they relate to the
lifetime soundtrack in order to provide further understanding of
their occurrence, nuance, emotionality, and function for
individuals. Drawing on in-depth discussions with younger and older
adults, each chapter reflects on a common theme or aspect of
musically motivated memory. People, places, and eras feature
frequently, with memories of childhood, family, past romantic
relationships, and the major and minor events occurring within them
acting as prime sites for memory and music interaction. The book
also considers the ways in which musically memory may manifest
differently for trained musicians, for whom music represents both
leisure and work. Forging a broad foundation in an overlooked area,
this study brings together sociological views on the personal use
of music and existing ideas on the workings of human memory. At the
same time, it aims to fortify the concept of the Lifetime
Soundtrack as a sociological concept with broad application in
future research. In so doing, the book highlights the significance
of music-enhanced reflection as a tool for the composition of
meaning within everyday life.
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