Popular music and society:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge, UK
Polity Press
2007
|
| Ausgabe: | 2. ed. |
| Schlagworte: | |
| Online-Zugang: | Contributor biographical information Publisher description Table of contents only Inhaltsverzeichnis |
| Beschreibung: | Previous ed.: Oxford: Polity, 1995. Includes bibliographical references (p. [267] - 287) and index |
| Beschreibung: | XV, 304 S. Ill. 26 cm |
| ISBN: | 0745631622 9780745631622 0745631630 9780745631639 |
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| 245 | 1 | 0 | |a Popular music and society |c Brian Longhurst |
| 250 | |a 2. ed. | ||
| 264 | 1 | |a Cambridge, UK |b Polity Press |c 2007 | |
| 300 | |a XV, 304 S. |b Ill. |c 26 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
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| 500 | |a Previous ed.: Oxford: Polity, 1995. | ||
| 500 | |a Includes bibliographical references (p. [267] - 287) and index | ||
| 648 | 7 | |a Geschichte 1960-1995 |2 gnd |9 rswk-swf | |
| 648 | 7 | |a Geschichte 1950-2005 |2 gnd |9 rswk-swf | |
| 650 | 7 | |a Popmuziek |2 gtt | |
| 650 | 7 | |a Sociale aspecten |2 gtt | |
| 650 | 4 | |a Gesellschaft | |
| 650 | 4 | |a Popular music |x Social aspects | |
| 650 | 4 | |a Popular music |x History and criticism | |
| 650 | 4 | |a Popular culture | |
| 650 | 4 | |a Popmuziek |a gtt | |
| 650 | 4 | |a Sociale aspecten |a gtt | |
| 650 | 0 | 7 | |a Unterhaltungsmusik |0 (DE-588)4061916-3 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
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| adam_text |
Contents
List of Figures vi
List of Tables viii
List 0/Boxes ix
Acknowledgements x
Preface xiv
Introduction: Constraints and Creativity Arguments and Framework i
Part I Production
1 The Pop Music Industry 27
2 The Social Production of Music 51
Part II Text
3 History, Politics and Sexuality 87
4 'Black Music': Genres and Social Constructions 118
5 Texts and Meaning 150
6 Performance, Dance, Distinction and the Body 180
Part HI Audience
7 Effects, Audiences and Subcultures 199
8 Fans, Production and Consumption 226
9 Beyond Subcultures and Fans: New Audiences, Scenes and
Everyday Life 246
Conclusion 264
Further Reading 267
References 271
Index 289
Figures
IN.i The structure of production and consumption of'serious'
and 'popular' music 5
IN.2 Differences between 'serious' and 'popular' music in
responses encouraged/demands made upon listener 7
IN.3 Adorno's account of popular music 8
IN.4 Dimensions of McDonaldization 11
IN. 5 Production, text and audience scheme 21
IN. 6 Developed production, text and audience scheme 23
1.1 Industry consolidation, 1980 2005 29
1.2 Ideal types of Fordism and post Fordism 36
1.3 Leading world markets as a % of world sales 38
1.4 World sales of sound recordings, 1981 9 38
1.5 Rights in the music industry 40
1.6 Cultural exchange 45
1.7 Cultural dominance 46
1.8 Cultural imperialism 46
1.9 Transculture 47
1.10 Glocalization 49
2.1 Art schools and pop musicians in Britain 57
2.2 Stages in the local rock career 59
2.3 The levelling process of attributed musical skills in rock groups 60
2.4 Constraints and escapes for women musicians 64
2.5 The division of labour in a record company 67
2.6 Dimensions of the modes of pop music production 70
2.7 Craft, entrepreneurial and art modes of collaboration in popular
music production 70
3.1 Periodization of the development of rock 89
3.2 The five styles of rock 'n' roll 89
3.3 Elements of postmodernism 104
3.4 Comparison of modernism with postmodernism 105
4.1 Core anti capitalist themes in black expressive culture 122
4.2 Some key features of Rastafari 130
4.3 Ideal types of folk culture, realism, modernism and
postmodernism 133
5.1 Problems of the old style musicological pop text 152
5.2 Courtney Love and Sinead O'Connor, 1993 MTV Awards 154
5.3 The structure of the sign 155
5.4 Language and myth 155
LIST OF FIGURES vii
5.5 Musical codes 156
5.6 Levels of generative structure 158
5.7 Discourse analysis of Madonna's'Material Girl' 160
5.8 Five main types of video on MTV 166
5.9 The music video cycle 169
5.10 A typical MTV day in March 1991 170
5.11 Visual incorporation in music video 172
5.12 George Michael arriving at the High Court, 23 November 1993 178
6.1 Bourdieu's formula 186
7.1 Hypodermic syringe or direct effect model 201
7.2 Two way text audience relationship 203
7.3 Album trade deliveries (units millions) 207
7.4 Weekly single sales, 2004 212
7.5 Single track downloads as a percentage of all weekly sales, 2004 212
7.6 Class and subcultures: a version of Cohen's model 214
7.7 Chronology of subcultures 216
7.8 Teddy boy, 29 May 1954 217
8.1 Symbolic productivity 239
8.2 Framework for the analysis of production/consumption 243
9.1 Ideal typical traits of modern and postmodern subculturalists 248
9.2 The three paradigms 260
9.3 Modes of audience experience 261
9.4 The audience continuum 262
Tables
IN.i Number of shops selling recorded music, 1994 2004 14
IN.2 Total singles sales by type of retailer, 1995 2004 16
IN. 3 Retailer album share by genre, 2004 17
1.1 Number of firms and market shares in the weekly Top 10
of the popular music single record market, by year 28
5.1 The subject matter of the lyrics of five punk groups 159
7.1 UK trade deliveries, 1978 2004 206
7.2 Classical trade deliveries, 1984 2004 207
7.3 Average number of purchases per buyer per year, 1999 2004 210
7.4 Expenditure by genre. Albums 211
7.5 Choice of music by demographic group, 2004 211
Boxes
1.1 Duet in the offing 30
1.2 Monopoly inquiry into UK music industry 32
1.3 The birth of 2 Tone Records 34
1.4 'Music industry scuppers pirates' 42
2.1 The music industry in 10 easy lessons 51
2.2 The art school career of Malcolm McLaren 57
2.3 Dilemmas of dress for female performers 64
2.4 Rock criticism in the music press 71
2.5 The other side of women in rock 74
2.6 Making a record with the new technology 77
3.1 The development of rockabilly in Memphis 90
3.2 The composite account of rock'n'roll 94
3.3 CliffWhite's 1964 diary 101
4.1 Maya Angelou at Porgy and Bess 121
4.2 Blues as a musical type 125
4.3 Afrika Bambaataa's mixing strategy 138
4.4 Murder rap I4°
5.1 Pheno song and geno song 163
5.2 Extracts from Father Figure: a case study 174
6.1 A night of research J87
6.2 Extract from focus group discussion 193
7.1 World record sales 1992 2002 208
7.2 Gender conflict at a junior disco 220
8.1 'More sex please, we're groupies and proud of it' 232
8.2 Extract from a case study of a filksing at Philcon, 1989 237
9.1 Music and the ordering of relationships 257 |
| adam_txt |
Contents
List of Figures vi
List of Tables viii
List 0/Boxes ix
Acknowledgements x
Preface xiv
Introduction: Constraints and Creativity Arguments and Framework i
Part I Production
1 The Pop Music Industry 27
2 The Social Production of Music 51
Part II Text
3 History, Politics and Sexuality 87
4 'Black Music': Genres and Social Constructions 118
5 Texts and Meaning 150
6 Performance, Dance, Distinction and the Body 180
Part HI Audience
7 Effects, Audiences and Subcultures 199
8 Fans, Production and Consumption 226
9 Beyond Subcultures and Fans: New Audiences, Scenes and
Everyday Life 246
Conclusion 264
Further Reading 267
References 271
Index 289
Figures
IN.i The structure of production and consumption of'serious'
and 'popular' music 5
IN.2 Differences between 'serious' and 'popular' music in
responses encouraged/demands made upon listener 7
IN.3 Adorno's account of popular music 8
IN.4 Dimensions of McDonaldization 11
IN. 5 Production, text and audience scheme 21
IN. 6 Developed production, text and audience scheme 23
1.1 Industry consolidation, 1980 2005 29
1.2 Ideal types of Fordism and post Fordism 36
1.3 Leading world markets as a % of world sales 38
1.4 World sales of sound recordings, 1981 9 38
1.5 Rights in the music industry 40
1.6 Cultural exchange 45
1.7 Cultural dominance 46
1.8 Cultural imperialism 46
1.9 Transculture 47
1.10 Glocalization 49
2.1 Art schools and pop musicians in Britain 57
2.2 Stages in the local rock career 59
2.3 The levelling process of attributed musical skills in rock groups 60
2.4 Constraints and escapes for women musicians 64
2.5 The division of labour in a record company 67
2.6 Dimensions of the modes of pop music production 70
2.7 Craft, entrepreneurial and art modes of collaboration in popular
music production 70
3.1 Periodization of the development of rock 89
3.2 The five styles of rock 'n' roll 89
3.3 Elements of postmodernism 104
3.4 Comparison of modernism with postmodernism 105
4.1 Core anti capitalist themes in black expressive culture 122
4.2 Some key features of Rastafari 130
4.3 Ideal types of folk culture, realism, modernism and
postmodernism 133
5.1 Problems of the old style musicological pop text 152
5.2 Courtney Love and Sinead O'Connor, 1993 MTV Awards 154
5.3 The structure of the sign 155
5.4 Language and myth 155
LIST OF FIGURES vii
5.5 Musical codes 156
5.6 Levels of generative structure 158
5.7 Discourse analysis of Madonna's'Material Girl' 160
5.8 Five main types of video on MTV 166
5.9 The music video cycle 169
5.10 A typical MTV day in March 1991 170
5.11 Visual incorporation in music video 172
5.12 George Michael arriving at the High Court, 23 November 1993 178
6.1 Bourdieu's formula 186
7.1 Hypodermic syringe or direct effect model 201
7.2 Two way text audience relationship 203
7.3 Album trade deliveries (units millions) 207
7.4 Weekly single sales, 2004 212
7.5 Single track downloads as a percentage of all weekly sales, 2004 212
7.6 Class and subcultures: a version of Cohen's model 214
7.7 Chronology of subcultures 216
7.8 Teddy boy, 29 May 1954 217
8.1 Symbolic productivity 239
8.2 Framework for the analysis of production/consumption 243
9.1 Ideal typical traits of modern and postmodern subculturalists 248
9.2 The three paradigms 260
9.3 Modes of audience experience 261
9.4 The audience continuum 262
Tables
IN.i Number of shops selling recorded music, 1994 2004 14
IN.2 Total singles sales by type of retailer, 1995 2004 16
IN. 3 Retailer album share by genre, 2004 17
1.1 Number of firms and market shares in the weekly Top 10
of the popular music single record market, by year 28
5.1 The subject matter of the lyrics of five punk groups 159
7.1 UK trade deliveries, 1978 2004 206
7.2 Classical trade deliveries, 1984 2004 207
7.3 Average number of purchases per buyer per year, 1999 2004 210
7.4 Expenditure by genre. Albums 211
7.5 Choice of music by demographic group, 2004 211
Boxes
1.1 Duet in the offing 30
1.2 Monopoly inquiry into UK music industry 32
1.3 The birth of 2 Tone Records 34
1.4 'Music industry scuppers pirates' 42
2.1 The music industry in 10 easy lessons 51
2.2 The art school career of Malcolm McLaren 57
2.3 Dilemmas of dress for female performers 64
2.4 Rock criticism in the music press 71
2.5 The other side of women in rock 74
2.6 Making a record with the new technology 77
3.1 The development of rockabilly in Memphis 90
3.2 The composite account of rock'n'roll 94
3.3 CliffWhite's 1964 diary 101
4.1 Maya Angelou at Porgy and Bess 121
4.2 Blues as a musical type 125
4.3 Afrika Bambaataa's mixing strategy 138
4.4 Murder rap I4°
5.1 Pheno song and geno song 163
5.2 Extracts from Father Figure: a case study 174
6.1 A night of research J87
6.2 Extract from focus group discussion 193
7.1 World record sales 1992 2002 208
7.2 Gender conflict at a junior disco 220
8.1 'More sex please, we're groupies and proud of it' 232
8.2 Extract from a case study of a filksing at Philcon, 1989 237
9.1 Music and the ordering of relationships 257 |
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| author | Longhurst, Brian 1956- |
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| callnumber-subject | ML - Literature on Music |
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| ctrlnum | (OCoLC)76935971 (DE-599)BVBBV023033169 |
| dewey-full | 306.4/8424 |
| dewey-hundreds | 300 - Social sciences |
| dewey-ones | 306 - Culture and institutions |
| dewey-raw | 306.4/8424 |
| dewey-search | 306.4/8424 |
| dewey-sort | 3306.4 48424 |
| dewey-tens | 300 - Social sciences |
| discipline | Soziologie |
| discipline_str_mv | Soziologie |
| edition | 2. ed. |
| era | Geschichte 1960-1995 gnd Geschichte 1950-2005 gnd |
| era_facet | Geschichte 1960-1995 Geschichte 1950-2005 |
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| id | DE-604.BV023033169 |
| illustrated | Illustrated |
| index_date | 2024-07-02T19:17:48Z |
| indexdate | 2024-10-23T14:02:14Z |
| institution | BVB |
| isbn | 0745631622 9780745631622 0745631630 9780745631639 |
| language | English |
| lccn | 2007280774 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016236987 |
| oclc_num | 76935971 |
| open_access_boolean | |
| owner | DE-12 DE-29 |
| owner_facet | DE-12 DE-29 |
| physical | XV, 304 S. Ill. 26 cm |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Polity Press |
| record_format | marc |
| spelling | Longhurst, Brian 1956- Verfasser (DE-588)172230179 aut Popular music and society Brian Longhurst 2. ed. Cambridge, UK Polity Press 2007 XV, 304 S. Ill. 26 cm txt rdacontent n rdamedia nc rdacarrier Previous ed.: Oxford: Polity, 1995. Includes bibliographical references (p. [267] - 287) and index Geschichte 1960-1995 gnd rswk-swf Geschichte 1950-2005 gnd rswk-swf Popmuziek gtt Sociale aspecten gtt Gesellschaft Popular music Social aspects Popular music History and criticism Popular culture Unterhaltungsmusik (DE-588)4061916-3 gnd rswk-swf Musiksoziologie (DE-588)4040869-3 gnd rswk-swf Kultur (DE-588)4125698-0 gnd rswk-swf Popkultur (DE-588)4175361-6 gnd rswk-swf Gesellschaft (DE-588)4020588-5 gnd rswk-swf Popmusik (DE-588)4046781-8 gnd rswk-swf Popmusik (DE-588)4046781-8 s Gesellschaft (DE-588)4020588-5 s Geschichte 1950-2005 z DE-604 Popkultur (DE-588)4175361-6 s Kultur (DE-588)4125698-0 s Musiksoziologie (DE-588)4040869-3 s Geschichte 1960-1995 z 1\p DE-604 Unterhaltungsmusik (DE-588)4061916-3 s 2\p DE-604 http://www.loc.gov/catdir/enhancements/fy0802/2007280774-b.html Contributor biographical information http://www.loc.gov/catdir/enhancements/fy0802/2007280774-d.html Publisher description http://www.loc.gov/catdir/enhancements/fy0802/2007280774-t.html Table of contents only HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016236987&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Longhurst, Brian 1956- Popular music and society Popmuziek gtt Sociale aspecten gtt Gesellschaft Popular music Social aspects Popular music History and criticism Popular culture Unterhaltungsmusik (DE-588)4061916-3 gnd Musiksoziologie (DE-588)4040869-3 gnd Kultur (DE-588)4125698-0 gnd Popkultur (DE-588)4175361-6 gnd Gesellschaft (DE-588)4020588-5 gnd Popmusik (DE-588)4046781-8 gnd |
| subject_GND | (DE-588)4061916-3 (DE-588)4040869-3 (DE-588)4125698-0 (DE-588)4175361-6 (DE-588)4020588-5 (DE-588)4046781-8 |
| title | Popular music and society |
| title_auth | Popular music and society |
| title_exact_search | Popular music and society |
| title_exact_search_txtP | Popular music and society |
| title_full | Popular music and society Brian Longhurst |
| title_fullStr | Popular music and society Brian Longhurst |
| title_full_unstemmed | Popular music and society Brian Longhurst |
| title_short | Popular music and society |
| title_sort | popular music and society |
| topic | Popmuziek gtt Sociale aspecten gtt Gesellschaft Popular music Social aspects Popular music History and criticism Popular culture Unterhaltungsmusik (DE-588)4061916-3 gnd Musiksoziologie (DE-588)4040869-3 gnd Kultur (DE-588)4125698-0 gnd Popkultur (DE-588)4175361-6 gnd Gesellschaft (DE-588)4020588-5 gnd Popmusik (DE-588)4046781-8 gnd |
| topic_facet | Popmuziek Sociale aspecten Gesellschaft Popular music Social aspects Popular music History and criticism Popular culture Popmuziek gtt Sociale aspecten gtt Unterhaltungsmusik Musiksoziologie Kultur Popkultur Popmusik |
| url | http://www.loc.gov/catdir/enhancements/fy0802/2007280774-b.html http://www.loc.gov/catdir/enhancements/fy0802/2007280774-d.html http://www.loc.gov/catdir/enhancements/fy0802/2007280774-t.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016236987&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT longhurstbrian popularmusicandsociety |