CiNii 図書 - Popular music analysis

Popular music studies is a rapidly expanding field with changing emphases and agendas. The music industry has changed in recent years, as has governmental involvement in popular music schemes as part of the culture industry. The distinction between the major record labels and the outsider independents has become blurred over time. Popular music, as part of this umbrella of the culture industry, has been progressively globalized and globalizing. The tensions within popular music are now no longer between national cultural identity and popular music, but between the local and the global. This four volume collection examines the changing status of popular music against this background. Simon Frith examines the heritage of popular music, and how technology has changed not only the production but the reception of this brand of sound. The collection examines how the traditional genres of rock, pop and soul have broken down and what has replaced them, as well as showing how this proliferation of musical styles has also splintered the audience of popular music.

Volume One: Music and Society A. The Making of Popular Music: Meanings and Values
1. Peter Bailey: 'Conspiracies of Meaning: Music Hall and the Knowingness of Popular Culture', Past & Present, 144, 1994. [22 pages in his book]
2. Dave Harker: 'Francis James Childs and the Ballad Consensus', Folk Music Journal 14, 1981, pp
146-164
3. Leroi Jones [Amiri Baraka]. 'Classic Blues', in Blues People (NY: William Morrow and Company, 1963), pp
81-94
4. Samuel A. Floyd, Jr. 'Ring Shout' Literary Studies, Historical Studies, and Black Music Inquiry, Black Music Research Journal, 11, 2, 1991, pp
265-287 B. The Making of Popular Music: Machines and Media
5. Dave Laing. 'A Voice Without a Face. Popular Music and the Phonograph in the 1890s', Popular Music, 10, 1, 1991, pp
1-9
6. Pekka Gronow. 'The Record Industry: the Growth of a Medium', Popular Music, 3, 1983, pp
53-75
7. Gerry Farrell. 'The Early Days of the Gramophone Industry in India. Historical, Social and Musical Perspectives', British Journal of Ethnomusicology, 2, 1994, pp
31-53
8. Gillian B. Anderson. 'The Presentation of Silent Films, or Music as Anaesthesia', Journal of Musicology, 5, 2, 1987, pp
257-295. C. Music, Entertainment and Dance
9. Lewis A. Erenberg. 'Everybody's Doin' It': The Pre-World War 1 Dance Craze, The Castles and the Modern American Girl', XXXXX, pp
155-170
10. Alf Bjornberg and Olaf Stockfelt. Kristen Klatvask fra Vejle: Danish Pub Music, Mythscapes and 'Local Camp', Popular Music, 15, 2, 1996, pp.131-147
11. Ben Malbon. 'The Dancer from the Dance: the Musical and Dancing Crowds of Clubbing' in Clubbing (London: Routledge, 1999) pp
85-104. D. Music and Everyday Life
12. Philip Tagg. 'Universal Music' and the Case of Death, Critical Quarterly, 35, 2, 1993, pp
54-85
13. Olaf Stockfelt. 'Adequate Modes of Listening', in D. Schwarz, A. Kassabian and L.Siegel, ed., Keeping Score: Music, Disciplinarity and Culture (Charlottesville, VA: University Press of Virginia, 1997), pp
129-146
14. Karen Lury. 'Chewing Gum for the Ears: Children's Television and Popular Music', Popular Music 21, 3, 2002, pp
291-305. E. Being a Musician
15. Alfred Schutz. 'Making Music Together' [1951], in Collected Papers, Volume 2 (The Hague: Martinus Nijhoff, 1964), pp.159-178
16. Howard Becker: 'The Culture of a Deviant Group. The Dance Musician', American Journal of Sociology, 57, 1951. [pp 55-65 in book]
17. Robert A. Stebbins. 'Music Among Friends: the Social Networks of Amateur Musicians', International Review of Sociology, 12, 1976, pp. XXXX. B

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