基本説明
The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods.
Full Description
The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods. Contributors to the volume were asked to write something original and, at the same time, to provide an instructive example of a particular way of working and thinking. The essays have been written with a view to helping graduate students with research methodology and the application of relevant theoretical models. The team of contributors is an exceptionally strong one: it contains many of the pre-eminent academic figures involved in popular musicological research, and there is a spread of European, American, Asian, and Australasian scholars. The volume covers seven main themes: Film, Video and Multimedia; Technology and Studio Production; Gender and Sexuality; Identity and Ethnicity; Performance and Gesture; Reception and Scenes and The Music Industry and Globalization. The Ashgate Research Companion is designed to offer scholars and graduate students a comprehensive and authoritative state-of-the-art review of current research in a particular area. The companion's editor brings together a team of respected and experienced experts to write chapters on the key issues in their speciality, providing a comprehensive reference to the field.
Contents
Introduction; 1: Film, Video and Multimedia; 1: Trevor Jones's Score for In the Name of the Father; 2: Music, Sound and the Moving Image: The Present and a Future? 1; 3: Reinventing Question Time; 4: Televised Live Performance, Looping Technology and the 'Nu Folk': KT Tunstall on Later ... with Jools Holland; 2: Technology and Studio Production; 5: Learning to Listen to Perfect Sound: Hi-fi Culture and Changes in Modes of Listening, 1950-80; 6: Approaches to Analysing Recordings of Popular Music; 7: The Art of Phonography: Sound, Technology and Music 1; 3: Gender and Sexuality; 8: Genre, Subjectivity and Back-up Singing in Rock Music; 9: Notes on Musical Camp; 10: Who Are You? Research Strategies of the Unruly Feminine; 11: 'I'm a Man': Masculinities in Popular Music; 4: Identity and Ethnicity; 12: The Woven World: Unravelling the Mainstream and the Alternative in Greek Popular Music; 13: Dayton Street Funk: The Layering of Multiple Identities 1; 14: Black, White and Brown on the Dance Floor: The New Meanings of Panjabiyat in the Twenty-first Century; 5: Performence and Gesture; 15: Musical Persona: The Physical Performance of Popular Music 1; 16: Vocal Performance and the Projection of Emotional Authenticity; 17: 'Chelsea Rodgers' was a Model - Vocality in Prince of the Twenty-first Century; 18: Singing Style and White Masculinity; 19: Talking Music, Making Music: A Comparison between Rap and Techno 1; 6: Reception and Scenes; 20: Absolute Beginners: The Evolution of a British Popular Music Scene; 21: Studying Reception and Scenes; 22: Interpretation: So What? 1; 7: The Music Industry and Globalization; 23: Beyond the Master Narrative of Youth: Researching Ageing Popular Music Scenes; 24: Music and the Creative Knowledge Economy; 25: The Transnational Music Industry; 26: Pop Idol: Global Economy - Local Meanings
