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To date there has been a significant gap in existing knowledge
about the social history of music in Britain from 1950 to the
present day. The three volumes of Live Music in Britain address
this gap and do so through a unique prism-that of live music. The
key theme of the books is the changing nature of the live music
industry in the UK, focused upon popular music but including all
musical genres. Via this focus, the books offer new insights into a
number of other areas including the relationship between commercial
and public funding of music; changing musical fashions and tastes;
the impact of changing technologies; the changing balance of power
within the music industries; the role of the state in regulating
and promoting various musical activities within an increasingly
globalised music economy; and the effects of demographic and other
social changes on music culture. Drawing on new archival research,
a wide range of academic and non- academic secondary sources,
participant observation and a series of interviews with key
personnel, the books have the potential to become landmark works
within Popular Music Studies and broader cultural history. The
third volume covers the period from Live Aid to Live Nation (1985-
2015).
Popular music is a growing presence in education, formal and
otherwise, from primary school to postgraduate study. Programmes,
courses and modules in popular music studies, popular music
performance, songwriting and areas of music technology are becoming
commonplace across higher education. Additionally, specialist
pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity
Rock and Pop, have emerged in recent years, meaning that it is now
possible for school leavers in some countries to meet university
entry requirements having studied only popular music. In the
context of teacher education, classroom teachers and
music-specialists alike are becoming increasingly empowered to
introduce popular music into their classrooms. At present, research
in Popular Music Education lies at the fringes of the fields of
music education, ethnomusicology, community music, cultural studies
and popular music studies. The Ashgate Research Companion to
Popular Music Education is the first book-length publication that
brings together a diverse range of scholarship in this emerging
field. Perspectives include the historical, sociological,
pedagogical, musicological, axiological, reflexive, critical,
philosophical and ideological.
The social history of music in Britain since 1950 has long been the
subject of nostalgic articles in newspapers and magazines,
nostalgic programmes on radio and television and collective
memories on music websites, but to date there has been no proper
scholarly study. The three volumes of The History of Live Music in
Britain address this gap, and do so from the unique perspective of
the music promoter: the key theme is the changing nature of the
live music industry. The books are focused upon popular music but
cover all musical genres and the authors offer new insights into a
variety of issues, including changes in musical fashions and
tastes; the impact of developing technologies; the balance of power
between live and recorded music businesses; the role of the state
as regulator and promoter; the effects of demographic and other
social changes on music culture; and the continuing importance of
do-it-yourself enthusiasts. Drawing on archival research, a wide
range of academic and non-academic secondary sources, participant
observation and industry interviews, the books are likely to become
landmark works within Popular Music Studies and broader cultural
history.
To date there has been a significant gap in existing knowledge
about the social history of music in Britain from 1950 to the
present day. The three volumes of Live Music in Britain address
this gap and do so through a unique prism-that of live music. The
key theme of the books is the changing nature of the live music
industry in the UK, focused upon popular music but including all
musical genres. Via this focus, the books offer new insights into a
number of other areas including the relationship between commercial
and public funding of music; changing musical fashions and tastes;
the impact of changing technologies; the changing balance of power
within the music industries; the role of the state in regulating
and promoting various musical activities within an increasingly
globalised music economy; and the effects of demographic and other
social changes on music culture. Drawing on new archival research,
a wide range of academic and non- academic secondary sources,
participant observation and a series of interviews with key
personnel, the books have the potential to become landmark works
within Popular Music Studies and broader cultural history. The
third volume covers the period from Live Aid to Live Nation (1985-
2015).
To date, there has been a significant gap in work on the social
history of music in Britain from 1950 to the present day. The three
volumes of Live Music in Britain address this gap and do so through
a unique prism-that of live music. The key theme of the books is
the changing nature of the live music industry in the UK, focused
upon popular music but including all musical genres. Via this
focus, the books offer new insights into a number of other areas,
including the relationship between commercial and public funding of
music, changing musical fashions and tastes, the impact of changing
technologies, the changing balance of power within the music
industries, the role of the state in regulating and promoting
various musical activities within an increasingly globalised music
economy, and the effects of demographic and other social changes on
music culture. Drawing on new archival research, a wide range of
academic and non-academic secondary sources, participant
observation and a series of interviews with key personnel, the
books have the potential to become landmark works within Popular
Music Studies and broader cultural history. The second volume
covers the period from Hyde Park to the Hacienda (1968-84).
To date, there has been a significant gap in work on the social
history of music in Britain from 1950 to the present day. The three
volumes of Live Music in Britain address this gap and do so through
a unique prism-that of live music. The key theme of the books is
the changing nature of the live music industry in the UK, focused
upon popular music but including all musical genres. Via this
focus, the books offer new insights into a number of other areas,
including the relationship between commercial and public funding of
music, changing musical fashions and tastes, the impact of changing
technologies, the changing balance of power within the music
industries, the role of the state in regulating and promoting
various musical activities within an increasingly globalised music
economy, and the effects of demographic and other social changes on
music culture. Drawing on new archival research, a wide range of
academic and non-academic secondary sources, participant
observation and a series of interviews with key personnel, the
books have the potential to become landmark works within Popular
Music Studies and broader cultural history. The second volume
covers the period from Hyde Park to the Hacienda (1968-84).
Popular music is a growing presence in education, formal and
otherwise, from primary school to postgraduate study. Programmes,
courses and modules in popular music studies, popular music
performance, songwriting and areas of music technology are becoming
commonplace across higher education. Additionally, specialist
pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity
Rock and Pop, have emerged in recent years, meaning that it is now
possible for school leavers in some countries to meet university
entry requirements having studied only popular music. In the
context of teacher education, classroom teachers and
music-specialists alike are becoming increasingly empowered to
introduce popular music into their classrooms. At present, research
in Popular Music Education lies at the fringes of the fields of
music education, ethnomusicology, community music, cultural studies
and popular music studies. The Routledge Research Companion to
Popular Music Education is the first book-length publication that
brings together a diverse range of scholarship in this emerging
field. Perspectives include the historical, sociological,
pedagogical, musicological, axiological, reflexive, critical,
philosophical and ideological.
The social history of music in Britain since 1950 has long been the
subject of nostalgic articles in newspapers and magazines,
nostalgic programmes on radio and television and collective
memories on music websites, but to date there has been no proper
scholarly study. The three volumes of The History of Live Music in
Britain address this gap, and do so from the unique perspective of
the music promoter: the key theme is the changing nature of the
live music industry. The books are focused upon popular music but
cover all musical genres and the authors offer new insights into a
variety of issues, including changes in musical fashions and
tastes; the impact of developing technologies; the balance of power
between live and recorded music businesses; the role of the state
as regulator and promoter; the effects of demographic and other
social changes on music culture; and the continuing importance of
do-it-yourself enthusiasts. Drawing on archival research, a wide
range of academic and non-academic secondary sources, participant
observation and industry interviews, the books are likely to become
landmark works within Popular Music Studies and broader cultural
history.
The drum kit is ubiquitous in global popular music and culture, and
modern kit drumming profoundly defined the sound of
twentieth-century popular music. The Cambridge Companion to the
Drum Kit highlights emerging scholarship on the drum kit, drummers
and key debates related to the instrument and its players.
Interdisciplinary in scope, this volume draws on research from
across the humanities, sciences, and social sciences to showcase
the drum kit, a relatively recent historical phenomenon, as a site
worthy of analysis, critique, and reflection. Providing readers
with an array of perspectives on the social, material, and
performative dimensions of the instrument, this book will be a
valuable resource for students, drum kit studies scholars, and all
those who want a deeper understanding of the drum kit, drummers,
and drumming.
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The Old Racist Cat (Hardcover)
Matt Brennan; Illustrated by Debbie Armes; Cover design or artwork by Jonathan Reich
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R680
Discovery Miles 6 800
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Ships in 10 - 15 working days
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When Genres Collide is a provocative history that rethinks the
relationship between jazz and rock through the lens of the two
oldest surviving and most influential American popular music
periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke
Ellington argued that the new music called rock 'n' roll "is the
most raucous form of jazz, beyond a doubt." So why did jazz and
rock subsequently become treated as separate genres? The rift
between jazz and rock (and jazz and rock scholarship) is based on a
set of received assumptions about their fundamental differences,
but there are other ways popular music history could have been
written. By offering a fresh examination of key historical moments
when the trajectories and meanings of jazz and rock intersected,
overlapped, or collided, it reveals how music critics constructed
an ideological divide between jazz and rock that would be
replicated in American musical discourse for decades to follow.
Recipient of and Honorable Mention in the PROSE Award, Music &
the Performing Arts 2018.
The drum kit has provided the pulse of popular music from before
the dawn of jazz up to the present day pop charts. Kick It, a
provocative social history of the instrument, looks closely at key
innovators in the development of the drum kit: inventors and
manufacturers like the Ludwig and Zildjian dynasties, jazz icons
like Gene Krupa and Max Roach, rock stars from Ringo Starr to Keith
Moon, and popular artists who haven't always got their dues as
drummers, such as Karen Carpenter and J Dilla. Tackling the history
of race relations, global migration, and the changing tension
between high and low culture, author Matt Brennan makes the case
for the drum kit's role as one of the most transformative musical
inventions of the modern era. Kick It shows how the drum kit and
drummers helped change modern music-and society as a whole-from the
bottom up.
The drum kit is ubiquitous in global popular music and culture, and
modern kit drumming profoundly defined the sound of
twentieth-century popular music. The Cambridge Companion to the
Drum Kit highlights emerging scholarship on the drum kit, drummers
and key debates related to the instrument and its players.
Interdisciplinary in scope, this volume draws on research from
across the humanities, sciences, and social sciences to showcase
the drum kit, a relatively recent historical phenomenon, as a site
worthy of analysis, critique, and reflection. Providing readers
with an array of perspectives on the social, material, and
performative dimensions of the instrument, this book will be a
valuable resource for students, drum kit studies scholars, and all
those who want a deeper understanding of the drum kit, drummers,
and drumming.
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