Kylie Minogue's self-titled debut album produced hits, controversy and a perfect mainstream storm. The then soap and children's television star 'crossed over' to music with hit writer/producers SAW - and the shamelessly commercial approach of all involved saw the 'real' music industry get its back up. This book interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Is there a way of dealing with 'mainstream' pop without denigrating the music and (just as importantly) without validating it according to the terms of a 'high art' canon? This text sheds light on the way that notions of 'mainstream' and 'other' play out in a local context-specifically, Australia and New Zealand music on a global stage.

- Applies a perspective rooted in popular music studies to understanding music in the parent-child relationship, offering a fresh take on the study of early childhood music - By bringing together popular music and early childhood, appeals across disciplines to popular music, media studies, and music education - Includes both case studies and broad analysis that draws together insights from across the literature, making this an engaging overview that can readily be used by students as well as researchers

- Applies a perspective rooted in popular music studies to understanding music in the parent-child relationship, offering a fresh take on the study of early childhood music - By bringing together popular music and early childhood, appeals across disciplines to popular music, media studies, and music education - Includes both case studies and broad analysis that draws together insights from across the literature, making this an engaging overview that can readily be used by students as well as researchers

The study of television and music has expanded greatly in recent years, yet to date no book has focused on the genre of comedy television as it relates to music. Music in Comedy Television: Notes on Laughs fills that gap, breaking new critical ground. With contributions from an array of established and emerging scholars representing a range of disciplines, the twelve essays included cover a wide variety of topics and television shows, spanning nearly fifty years across network, cable, and online structures and capturing the latest research in this growing area of study. From Sesame Street to Saturday Night Live, from Monty Python to Flight of the Conchords, this book offers the perfect introduction for students and scholars in music and media studies seeking to understand the role of music in comedy onscreen and how it relates to the wider culture.

The study of television and music has expanded greatly in recent years, yet to date no book has focused on the genre of comedy television as it relates to music. Music in Comedy Television: Notes on Laughs fills that gap, breaking new critical ground. With contributions from an array of established and emerging scholars representing a range of disciplines, the twelve essays included cover a wide variety of topics and television shows, spanning nearly fifty years across network, cable, and online structures and capturing the latest research in this growing area of study. From Sesame Street to Saturday Night Live, from Monty Python to Flight of the Conchords, this book offers the perfect introduction for students and scholars in music and media studies seeking to understand the role of music in comedy onscreen and how it relates to the wider culture.

Kylie Minogue's self-titled debut album produced hits, controversy and a perfect mainstream storm. The then soap and children's television star 'crossed over' to music with hit writer/producers SAW - and the shamelessly commercial approach of all involved saw the 'real' music industry get its back up. This book interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Is there a way of dealing with 'mainstream' pop without denigrating the music and (just as importantly) without validating it according to the terms of a 'high art' canon? This text sheds light on the way that notions of 'mainstream' and 'other' play out in a local context-specifically, Australia and New Zealand music on a global stage.