Full Description
The term 'Popular Music' has traditionally denoted different things in France and Britain. In France, the very concept of 'popular' music has been fiercely debated and contested, whereas in Britain and more largely throughout what the French describe as the 'Anglo-saxon' world 'popular music' has been more readily accepted as a description of what people do as leisure or consume as part of the music industry, and as something that academics are legitimately entitled to study. French researchers have for some decades been keenly interested in reading British and American studies of popular culture and popular music and have often imported key concepts and methodologies into their own work on French music, but apart from the widespread use of elements of 'French theory' in British and American research, the 'Anglo-saxon' world has remained largely ignorant of particular traditions of the study of popular music in France and specific theoretical debates or organizational principles of the making and consuming of French musics. French, British and American research into popular music has thus coexisted - with considerable cross-fertilization - for many years, but the barriers of language and different academic traditions have made it hard for French and anglophone researchers to fully appreciate the ways in which popular music has developed in their respective countries and the perspectives on its study adopted by their colleagues. This volume provides a comparative and contrastive perspective on popular music and its study in France and the UK.
Contents
1: Top of the Pops, or Gilbert and Maritie Carpentier? Ways of Doing and Thinking Popular Music in Britain and France; 2: Writing the History of Popular Music; 3: Charting the History of Amplified Musics in France; 4: Popular Music Policy in the UK; 5: Cultural Policies and Popular/Contemporary/Amplified Musics in France; 6: The UK Music Economy; 7: The Economics of Music in France; 8: Mediation of Popular Music in the UK; 9: Music and the Media in France: The Sociological Viewpoint; 10: Genres and the Aesthetics of Popular Music in the UK; 11: The Issue of Musical Genres in France; 12: Mapping British Music Audiences: Subcultural, Everyday and Mediated Approaches; 13: Music Audiences, Cultural Hierarchies and State Interventionism: A Typically French Model?; 14: Is it Different for Girls? Unpacking Sheffield's 'Scene'; 15: Local Music Scenes in France: Definitions, Stakes, Particularities
