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"Country Music: A Very Short Introduction presents an overview of country music and its impact on American culture. Country music has long been a marker of American identity; from popular culture to politics, it has provided a soundtrack to national life. While traditionally associated with the working class, country music's appeal is far broader than any other popular music style. While this music rose from the people, it is also a product of the popular music industry, and the way the music has been marketed to its audience is a key part of its story. This VSI considers country music's roots, its development, and describes key artists, songs, and musical styles"
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In a period in which racism and gender inequity are at the fore of public, political, and scholarly discourse, this collection challenges systems of gatekeeping that have dictated who gets to participate in twenty-first century country music culture. Building on established scholarship, this book examines contemporary issues in country music through feminist, intersectional, and post-colonialist theories, as well as other intertextual and cultural lenses. The authors pose questions about diversity, representation, and identity as they relate to larger concepts of artist and fan communities, stylistic considerations of the genre, and modes of production from a twenty-first century perspective. Addressing and challenging the received narrative about country music culture, this collection delves into the gaps that are inherent in existing approaches that privileged biography and historiography and expands new areas of inquiry relating to contemporary country music identity and culture.
Country music --- Country music --- History and criticism. --- Social aspects.
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This is the first study of ""hard"" country music as well as the first comprehensive application of contemporary cultural theory to country music. Barbara Ching begins by defining the features that make certain country songs and artists ""hard."" She compares hard country music to ""high"" American culture, arguing that hard country deliberately focuses on its low position in the American cultural hierarchy, comically singing of failures to live up to American standards of affluence, while mainstream country music focuses on nostalgia, romance, and patriotism of regular folk. With chapters on
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Americana music isn't just a musical form. It's a state of mind. This book charts the coordinates of this state of mind with a series of interviews and portraits from the heart of alternative country, often known to its adherents simply as OKOM: Our Kind of Music.
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In The Country Music Reader Travis D. Stimeling provides an anthology of primary source readings from newspapers, magazines, and fan ephemera encompassing the history of country music from circa 1900 to the present. Presenting conversations that have shaped historical understandings of country music, it brings the voices of country artists and songwriters, music industry insiders, critics, and fans together in a vibrant conversation about a widely loved yet seldom studied genre of American popular music. Situating each source chronologically within its specific musical or cultural context, Sti
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