Mapping the beat : popular music and contemporary theory
Author(s)
Bibliographic Information
Mapping the beat : popular music and contemporary theory
Blackwell Publishers, 1998
- : pbk
- Other Title
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Popular music and contemporary theory
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Note
Includes bibliographical references and index
Description and Table of Contents
- Volume
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ISBN 9781577180777
Description
One of the most vibrant and exciting new areas of academia inquiry falls under the cross disciplinary category of cultural studies. Within this field, popular music has been commonly analyzed to understand our world through the social dynamics, cultural production and consumption of popular music. Recent works on popular music studies examine the institutional and economic limitations that define popular music. Other works have addressed the textual aspects; representations and symbolic meaning in popular music as reflected in contemporary society. Other books look solely at the phenomenon of fandom and music subcultures. This collection cuts across all these ways of analyzing culture and is done through looking at spaces of noise and places of music. Included in this volume are some of the best cultural theorists and their reflections on modern life through music and representation.
Table of Contents
Part I: Noise, Performance and the Politics of Sound: 1. Mapping the Beat: The Space of Noise and the Place of Music: Andrew Herman (Drake University), Thomas Swiss (Drake University) and John Sloop (Vanderbilt University). 2. Not The Same: Race, Repetition and Difference in Hip-Hop: Russell Potter (Rhode Island College). 3. Kick Out the Jams!: The MC5 and the Politics of Noise: Steve Waksman (University of Minnesota). 5. Queers, Punks, and Alternative Acts: Cynthia Fuchs (George Mason University). Part II: History, Technology and Policy: 6. Drumming and Memory: Scholarship, Technology, and Music-Making: Andrew Goodwin (University of San Fransisco). 7. The History of Rock's Pasts through Rock Covers: Deena Weinstein (DePaul University). 8. Repressive Representations: Patriarchy and Femininity in Rock Music of the Counterculture: Sheila Whitely (Salford University). 9. Popular Music and the Synergy of Corporate Culture: David Sanjek (Broadcast Music, Inc). 10. Fields of Practice: Musical Production, Public Policy, and the Market: Holly Kruse (La Salle University). Part III: Location and Movement in the Spaces of Popular Music: 11. Crossing Over: Selena's Tejana Music and the Discourse of Borderlands: Ramona Liera-Schwichtenberg (Wichita State University). 12. Yo Quiero Mi MTV: Making Music Television for Latin America: Robert Hanke (Journalist). 13. Studying Rock: Towards a Materialist Ethnography: Tony Kirschner (University of Illinois). 14. Everybody Loves Our Town: Scenes and Spatialization: Mark Olson (University of North Carolina). 15. Negativeland, Outlaw Judgements, and the Politics of Cyberspace: Andrew Herman (Drake University) and John Sloop (Vanderbilt University). Index.
- Volume
-
: pbk ISBN 9781577180784
Description
One of the most vibrant and exciting new areas of academia inquiry falls under the cross disciplinary category of cultural studies. Within this field, popular music has been commonly analyzed to understand our world through the social dynamics, cultural production and consumption of popular music. Recent works on popular music studies examine the institutional and economic limitations that define popular music. Other works have addressed the textual aspects; representations and symbolic meaning in popular music as reflected in contemporary society. Other books look solely at the phenomenon of fandom and music subcultures. This collection cuts across all these ways of analyzing culture and is done through looking at spaces of noise and places of music. Included in this volume are some of the best cultural theorists and their reflections on modern life through music and representation.
Table of Contents
Part I: Noise, Performance and the Politics of Sound:1. Mapping the Beat: The Space of Noise and the Place of Music: Andrew Herman (Drake University), Thomas Swiss (Drake University) and John Sloop (Vanderbilt University).2. Not The Same: Race, Repetition and Difference in Hip-Hop: Russell Potter (Rhode Island College).3. Kick Out the Jams!: The MC5 and the Politics of Noise: Steve Waksman (University of Minnesota).5. Queers, Punks, and Alternative Acts: Cynthia Fuchs (George Mason University).Part II: History, Technology and Policy:6. Drumming and Memory: Scholarship, Technology, and Music-Making: Andrew Goodwin (University of San Fransisco).7. The History of Rock's Pasts through Rock Covers: Deena Weinstein (DePaul University).8. Repressive Representations: Patriarchy and Femininity in Rock Music of the Counterculture: Sheila Whitely (Salford University).9. Popular Music and the Synergy of Corporate Culture: David Sanjek (Broadcast Music, Inc).10. Fields of Practice: Musical Production, Public Policy, and the Market: Holly Kruse (La Salle University).Part III: Location and Movement in the Spaces of Popular Music:11. Crossing Over: Selena's Tejana Music and the Discourse of Borderlands: Ramona Liera-Schwichtenberg (Wichita State University).12. Yo Quiero Mi MTV: Making Music Television for Latin America: Robert Hanke (Journalist).13. Studying Rock: Towards a Materialist Ethnography: Tony Kirschner (University of Illinois).14. Everybody Loves Our Town: Scenes and Spatialization: Mark Olson (University of North Carolina).15. Negativeland, Outlaw Judgements, and the Politics of Cyberspace: Andrew Herman (Drake University) and John Sloop (Vanderbilt University).Index.
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