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Jon Finson views the mores and values of nineteenth-century Americans as they appear in their popular songs. Presenting a guided tour of topically arranged, select songs, he points out the most important landmarks, as well as lesser sights that provide colour and context, and obscure but treasurable parts of the scenery previously overlooked.
Popular music --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- History and criticism. --- 78.35
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"This engaging and important book examines how political actors from Matteo Salvini to the Five Star Movement rely on common taste in music to generate feeling of national emotion. Researchers on populism should read this careful and fast paced analysis and learn that music is constitutive of politics that moves the people.” —Mabel Berezin, Distinguished Professor of Sociology and Director of the Institute for European Studies, Cornell University “This deeply researched and endlessly fascinating book tells of the complex relationship between populism and popular music in Italy. But it does more than this. It reveals how – in general – we might understand better the role of music in politics, and the role of politics in music.” —John Street, University of East Anglia This book launches a proposal: to fill some empirical and theoretical gaps that presently exists in populism studies by looking at the potential nexus between populist phenomena and popular culture. It provides a detailed account of the multiple mechanisms linking the production of pop music (as a form of popular culture) to the rise and reproduction of populism. The authors use a case study of Italy to interrogate these mechanisms because of its long-lasting populist phenomena and the contextual importance of pop music. The book’s mixed-methods strategy assesses three different aspects of the potential relationship between pop music and populist politics: the cultural opportunity structure generated and reproduced by the production of music, the strategies political actors use to exploit music for political purposes, and, crucially, the ways fans and ordinary citizens understand the relationship between pop music and politics, and subsequent debates and identities. Moving from the case study, the book in its last chapter offers a more general understanding of the associations between pop music and populism. Manuela Caiani is Associate Professor in Political Science at the Scuola Normale Superiore of Pisa, Italy. Enrico Padoan is a postdoctoral researcher at the Department of Social, Political and Cognitive Sciences (DISPOC) of the University of Siena, Italy.
Popular music. --- Populism. --- Political science --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions
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The celebration of popular music can be an important mode of cultural expression and a source of pride for urban communities. This Element analyses the capacity for popular music heritage to enact cultural justice in the deindustrialising cities of Wollongong, Australia; Detroit, USA; and Birmingham, UK.
Popular music --- Deindustrialization --- Social aspects. --- Industrial capacity --- Industrialization --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions
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Irving Berlin remains a central figure in American music, a lyricist/composer whose songs are still loved today. His first piece, ""Marie from Sunny Italy"", was written in 1907 and was followed by classics such as ""God Bless America"", ""Blue Skies"", ""Always"", ""White Christmas"" and ""Easter Parade"".
Berlin, Irving, - 1888- - Criticism and interpretation. --- Popular music - United States - 1901-1910 - History and criticism. --- Popular music - United States - 1911-1920 - History and criticism. --- Popular music --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- History and criticism. --- Berlin, Irving, --- Balin, Israel, --- Baline, Israel, --- Berlin, I. --- Beilin, Israel, --- Criticism and interpretation.
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'Please Please Me' offers an insider's view of the British pop-music recording industry during the seminal period of 1956 to 1968, based on personal recollections, contemporary accounts, and all relevant data that situate this scene in the economic, political, and social context of postwar Britain.
Popular music --- Sound recording industry --- Audio recording industry --- Popular music record industry --- Record companies --- Record industry --- Record music industry --- Recorded music industry --- Recording industry --- Music trade --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- History and criticism. --- History
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This book illuminates the aesthetically underrated meaningfulness of particular elements in works of art and aesthetic experiences generally. Beginning from the idea of "hooks" in popular song, the book identifies experiences of special liveliness that are of enduring interest, supporting contemplation and probing discussion. When hooks are placed in the foreground of aesthetic experience, so is an enthusiastic “grabbing back” by the experiencer who forms a quasi-personal bond with the beloved singular moment and is probably inclined to share this still-evolving realization of value with others. This book presents numerous models of enthusiastic “grabbing back” that are art-critically motivated to explain how hooks achieve their effects and philosophically motivated to discover how hooks and hook appreciation contribute to a more ideally desirable life. Framing hook appreciation with a defensible general model of aesthetic experience, this book gives an unprecedented demonstration of the substantial aesthetic and philosophical interest of hook-centered inquiry.
Aesthetics. --- Popular music. --- Popular Culture. --- Popular Music. --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Radio broadcasting Aesthetics --- Aesthetics --- Popular music --- Philosophy and aesthetics.
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Many metal songs incorporate poetry into their lyrics using a broad array of techniques, both textual and musical. This book develops a novel adaptation, appropriation, and quotation taxonomy that both expands our knowledge of how poetry is used in metal music and is useful for scholars across adaptation studies broadly. The text follows both a quantitative and a qualitative approach. It identifies 384 metal songs by 224 bands with intertextual ties to 146 poems written by fifty-one different poets, with a special focus on Edgar Allan Poe, John Milton's Paradise Lost and the work of WWI's War Poets. This analysis of transformational mechanisms allows poetry to find an afterlife in the form of metal songs and sheds light on both the adaptation and appropriation process and on the semantic shifts occasioned by the recontextualisation of the poems into the metal music culture. Some musicians reuse – and sometimes amplify – old verses related to politics and religion in our present times; others engage in criticism or simple contradiction. In some cases, the bands turn the abstract feelings evoked by the poems into concrete personal experiences. The most adventurous recraft the original verses by changing the point of view of either the poetic voice or the addressed actors, altering the vocaliser of the narrative or the gender of the protagonists. These mechanisms help metal musicians make the poems their own and adjust them to their artistic needs so that the resulting product is consistent with the expectations of the metal music culture.
Popular music. --- Poetry. --- Literature. --- Popular Music. --- Poetry and Poetics. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship --- Poems --- Poetry --- Verses (Poetry) --- Literature --- Philosophy
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In order to analyze how transformative musical works are culturally understood, this book examines how mainstream press discourse talks about them. According to professional journalistic norms, press discussion is supposed to be neutral and balanced. This is, of course, a fiction, because press is to study social power relations, this is a benefit, not a drawback. In particular, norms of explaining "both sides" of an issue mean that a cross section of mainstream thought is available in the press, at the same time that more marginal perspectives are systematically excluded. Moreover, in addition to conveying what the journalist perceives to be a neutral account of a situation, the press helps frame public understanding of issues, thus contributing to making this the default understanding through presenting a hegemonic view as the truth. For these reasons, Stanfill uses press coverage to examine social beliefs circulating widely about transformative musical works. In doing so, she specifically abstracts away from particular journalists and their identities (racial, gender, or others) because, by those same professional norms, individual perspectives are supposed to be suppressed in the name of a (white and masculine) construct of universality. Moreover, an individual journalist presenting an opinion (whether they are aware of doing so or not) is not in itself meaningful, but when there are patterns in opinions across multiple articles, by different people, in different locations and at different moments, they become suggestive of a broader hegemonic formation.
Copyright --- Popular music --- Remixes --- Music --- Economic aspects --- History and criticism. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Cover versions --- Club mixes --- Dance mixes --- Mixes (Music) --- Electronic music --- Electronic dance music --- Sound recordings --- Remixing
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This book examines regional and rural popular music scenes in Europe, Asia, North America and Australia. The book is divided into four parts. Part 1 will focus on the spatial aspects of regional popular music scenes and how place and locality inform the perceptions and discourses of those involved in such scenes. Part 2 focuses on the technologies and forms of distribution whereby regional and rural popular music scenes exist and, in many cases co-exist in forms of trans-local connection with other scenes. Part 3 considers the importance of collective memory in the way that regional and rural popular music scenes are constructed in both the past and the present. Part 4 examines themes of industry and policy, in relation to culture and music, as these impact on the nature and identity of rural and regional popular music scenes. Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University in Queensland, Australia. He has written and edited numerous books including Popular Music and Youth Culture, Music, Style and Aging and Music Scenes (co-edited with Richard A. Peterson). David Cashman is an Adjunct Associate Professor of Contemporary Music at Southern Cross University. He writes on regional music scenes, live popular music, and music and tourism. Ben Green is a Postdoctoral Research Fellow of the Griffith Centre for Social and Cultural Research at Griffith University in Queensland, Australia. He is the author of Peak Music Experiences: A New Perspective on Popular Music, Identity and Scenes. Natalie Lewandowski is an Adjunct of the Creative Arts Institute at Griffith University in Queensland, Australia. Her experience working across government, the arts, academia and commercial industries has resulted in publications and engagement with film sound, music sustainability, music and wellbeing.
Popular music. --- Music. --- Ethnology. --- Culture. --- Popular Music. --- Regional Cultural Studies. --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Cultural anthropology --- Ethnography --- Races of man --- Social anthropology --- Anthropology --- Human beings --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Social aspects --- Popular music --- Social aspects.
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The Story of the B-52s: Neon Side of Town is the first critical biography of one of the most unique popular bands in American music. The B-52s were far more than just a “tacky dance band.” Their aesthetic was shaped by the radical social and political conditions in Athens, Georgia, and their arrival in New York City profoundly influenced the next several years of music and art to come out of that city. The Story of the B-52s provides a deep critical analysis of the band’s music and original insights into the extraordinary people who made it. Their story, told here in full for the first time, contains all the elements of a great novel—success and failure, tragedy and triumph, life and death. Yet, at the heart of the B-52s music is a love for being alive that verges on the radical.
Popular music. --- Queer theory. --- Popular Culture. --- Ethnology. --- Culture. --- Popular Music. --- Pop and Rock. --- Queer Studies. --- Regional Cultural Studies. --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Cultural anthropology --- Ethnography --- Races of man --- Social anthropology --- Anthropology --- Human beings --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Gender identity --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Social aspects
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