The Bloomsbury Handbook of Rock Music Researchis the first comprehensive academic survey of the field of rock music as it stands today. More than 50 years into its life and we still ask - what is rock music, why is it studied, and how does it work, both as music and as cultural activity? This volume draws together 37 of the leading academics working on rock to provide answers to these questions and many more. The text is divided into four major sections: practice of rock (analysis, performance, and recording); theories; business of rock; and social and culture issues. Each chapter combines two…mehr
The Bloomsbury Handbook of Rock Music Researchis the first comprehensive academic survey of the field of rock music as it stands today. More than 50 years into its life and we still ask - what is rock music, why is it studied, and how does it work, both as music and as cultural activity? This volume draws together 37 of the leading academics working on rock to provide answers to these questions and many more. The text is divided into four major sections: practice of rock (analysis, performance, and recording); theories; business of rock; and social and culture issues. Each chapter combines two approaches, providing a summary of current knowledge of the area concerned as well as the consequences of that research and suggesting profitable subsequent directions to take. This text investigates and presents the field at a level of depth worthy of something which has had such a pervasive influence on the lives of millions.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Allan Moore is Professor Emeritus of Popular Music and and former Head of the Department of Music and Sound Recording at the University of Surrey, UK. He is series editor of the Ashgate Library of Essays in Popular Music, and author and editor of several books including Song Means (2012), Rock: The Primary Text, Third Edition (2018) and Jethro Tull's Aqualung (2004, part of Bloomsbury's 33 1/3 series). Paul Carr is Professor in Popular Music Analysis at the University of South Wales, UK. His research interests focus on the areas of musicology, widening access, the live music industry and pedagogical frameworks for music related education. He is also an experienced performing musician, having toured and recorded with artists as diverse as The James Taylor Quartet and ex Miles Davis saxophonist Bob Berg. He is the editor of Frank Zappa and the And (2013) and author of Sting (2017).
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List of Figures List of Tables Notes on Contributors Acknowledgments 1. Introduction: Rock Music's Emergence Censorship and Perceived Death (Paul Carr University of South Wales UK and Allan Moore University of Surrey UK) PREFATORY 2. Rock Historiography: Music Artists Perspectives and Value (John Covach University of Rochester USA) 3. Serious Writing About Rock (Sarah Hill Cardiff University UK) 4. The Definition of 'Rock' and Stylistic Overlaps (Taylor Myers Rutgers University USA and Brad Osborn University of Kansas USA) PART I. PRACTICE ANALYSIS AND RECORDING 5. Rock Voice (Katherine Meizel Bowling Green State University USA) 6. The Rock Instrumentarium (Steve Waksman Smith College USA) 7. Analyzing and Interpreting Song Forms (Ralf von Appen University of Music and Performing Arts Austria) 8. Convention and Invention in Harmonic and Melodic Theories for Rock Music (Brett Clement Ball State University USA) 9. Rhythmic and Metric Theorization in Rock Music (Nicole Biamonte McGill University Canada) 10. Computational Musicology in Rock (Trevor de Clercq Middle Tennessee State University USA) 11. Function and Construction of Rock Lyrics (Dai Griffiths Oxford Brookes University UK) 12. Rock Music Engineering and Production (Samantha Bennett Australian National University Australia) 13. Sonic Space and Texture in Rock (Olivier Julien Sorbonne University France) PART II. ROCK THEORIES 14. Authenticity Creativity Originality (Theodore Gracyk Minnesota State University Moorhead USA) 15. Categorization: Genre Style Idiolect and Beyond (Nick Braae Waikato Institute of Technology New Zealand) 16. Personas in Rock: 'We Will We Will Rock You' (Stan Hawkins University of Oslo and the University of Agder Norway) 17. Rock Hermeneutics (Katherine Reed California State University Fullerton USA) 18. Narrativity in Rock (Alexander C. Harden Independent Scholar UK) 19. Sliding Scales and Slippery Slopes: Representations of Autonomy and Mediation in the 'Radial Mainstream' of UK-Based Pop/Rock(Damon Minchella University of South Wales UK) PART III. ROCK ENVIRONMENTS 20. Studio Practice and Organization In Rock Music (Simon Zagorski-Thomas London College of Music UK) 21. Rock Music Pedagogy in the UK and US: Ignorance or Elitism? (Paul Carr University of South Wales UK) 22. The Rock Press (Paula Hearsum University of Brighton UK and Martin James Solent University UK) 23. Rock and Time-Based Visual Media (Laura Niebling University of Regensburg Germany) 24. Rock in Time-Based Events (Andrew Blake University of the Arts London UK) 25. Rock Live Performance (Sergio Pisfil Sorbonne Université France) 26. Marketing and Commodification of Rock (Roy Shuker Victoria University of Wellington New Zealand) PART IV. SOCIAL AND CULTURAL ISSUES 27. Rock Popular Culture and Power: Politics and Policy (Shane Homan Monash University Australia) 28. Understanding Gender and Sexuality in Rock Music (Lori Burns University of Ottawa Canada) 29. Race and Racialism in Rock (Jon Stratton University of South Australia Australia) 30. In the World: Beyond the English-Speaking West (Motti Regev Open University of Israel Israel) 31. Global Rock as Postcolonial Soundtrack (Jeremy Wallach Bowling Green State University USA) 32. Rock Music and Place (Geoff Stahl Victoria University of Wellington New Zealand) 33. Fans and Consumption (Mark Duffett University of Chester UK) Bibliography page Indexpage
List of Figures List of Tables Notes on Contributors Acknowledgments 1. Introduction: Rock Music's Emergence Censorship and Perceived Death (Paul Carr University of South Wales UK and Allan Moore University of Surrey UK) PREFATORY 2. Rock Historiography: Music Artists Perspectives and Value (John Covach University of Rochester USA) 3. Serious Writing About Rock (Sarah Hill Cardiff University UK) 4. The Definition of 'Rock' and Stylistic Overlaps (Taylor Myers Rutgers University USA and Brad Osborn University of Kansas USA) PART I. PRACTICE ANALYSIS AND RECORDING 5. Rock Voice (Katherine Meizel Bowling Green State University USA) 6. The Rock Instrumentarium (Steve Waksman Smith College USA) 7. Analyzing and Interpreting Song Forms (Ralf von Appen University of Music and Performing Arts Austria) 8. Convention and Invention in Harmonic and Melodic Theories for Rock Music (Brett Clement Ball State University USA) 9. Rhythmic and Metric Theorization in Rock Music (Nicole Biamonte McGill University Canada) 10. Computational Musicology in Rock (Trevor de Clercq Middle Tennessee State University USA) 11. Function and Construction of Rock Lyrics (Dai Griffiths Oxford Brookes University UK) 12. Rock Music Engineering and Production (Samantha Bennett Australian National University Australia) 13. Sonic Space and Texture in Rock (Olivier Julien Sorbonne University France) PART II. ROCK THEORIES 14. Authenticity Creativity Originality (Theodore Gracyk Minnesota State University Moorhead USA) 15. Categorization: Genre Style Idiolect and Beyond (Nick Braae Waikato Institute of Technology New Zealand) 16. Personas in Rock: 'We Will We Will Rock You' (Stan Hawkins University of Oslo and the University of Agder Norway) 17. Rock Hermeneutics (Katherine Reed California State University Fullerton USA) 18. Narrativity in Rock (Alexander C. Harden Independent Scholar UK) 19. Sliding Scales and Slippery Slopes: Representations of Autonomy and Mediation in the 'Radial Mainstream' of UK-Based Pop/Rock(Damon Minchella University of South Wales UK) PART III. ROCK ENVIRONMENTS 20. Studio Practice and Organization In Rock Music (Simon Zagorski-Thomas London College of Music UK) 21. Rock Music Pedagogy in the UK and US: Ignorance or Elitism? (Paul Carr University of South Wales UK) 22. The Rock Press (Paula Hearsum University of Brighton UK and Martin James Solent University UK) 23. Rock and Time-Based Visual Media (Laura Niebling University of Regensburg Germany) 24. Rock in Time-Based Events (Andrew Blake University of the Arts London UK) 25. Rock Live Performance (Sergio Pisfil Sorbonne Université France) 26. Marketing and Commodification of Rock (Roy Shuker Victoria University of Wellington New Zealand) PART IV. SOCIAL AND CULTURAL ISSUES 27. Rock Popular Culture and Power: Politics and Policy (Shane Homan Monash University Australia) 28. Understanding Gender and Sexuality in Rock Music (Lori Burns University of Ottawa Canada) 29. Race and Racialism in Rock (Jon Stratton University of South Australia Australia) 30. In the World: Beyond the English-Speaking West (Motti Regev Open University of Israel Israel) 31. Global Rock as Postcolonial Soundtrack (Jeremy Wallach Bowling Green State University USA) 32. Rock Music and Place (Geoff Stahl Victoria University of Wellington New Zealand) 33. Fans and Consumption (Mark Duffett University of Chester UK) Bibliography page Indexpage
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