{"title":"Routledge Studies In Popular Music","description":"\u003cp\u003eDelve into the diverse world of popular music with Routledge Studies. This series offers insightful perspectives and critical analyses, perfect for enthusiasts and academics alike. Explore music's cultural impact today.\u003c\/p\u003e","products":[{"product_id":"peak-music-experiences-book-ben-green-9780367553852","title":"Peak Music Experiences","description":"Peak music experiences are a recurring feature of popular music journalism, biography and fan culture, where they are often credited as pivotal in people’s relationships with music and in their lives more generally. Ben Green investigates the phenomenon from a social and cultural perspective, including discussions of peak music experiences as sources of inspiration and influence; as a core motivation for ongoing musical and social activity; the significance of live music experiences; and the key role of peak music experiences in defining and perpetuating music scenes. The book draws from both global media analysis and situated ethnographic research in the dance, hip hop, indie and rock ‘n’ roll music scenes of Brisbane, Australia, including participant observation and in-depth interviews. These case studies demonstrate the methodological value of peak music experiences as a lens through which to understand individual and collective musical life. The theoretical analysis is interwoven with selected interview data, illuminating the profound and everyday ways that music informs people’s lives. 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The music played at goth club nights and festivals encompasses a broad range of musical substyles, from gloomy Batcave reverberations to neo-medieval bagpipe drones and from the lush vocals of goth metal to the harsh distortion of goth industrial. Goth Music: From Sound to Subculture argues that within this variegated musical landscape a number of key consistencies exist. Not only do all these goth substyles share a number of musical and textual characteristics, but more importantly these aspects of the music are constitutive of goth social reality. Drawing on their own experiences in the European and American goth scenes, the authors explore the ways in which the sounds of goth inform the scene’s listening practices, its fantasies of other worlds, and its re-enchantment of their own world. Goth music, this book asserts, engenders a musical timespace of its own, a musical chronotope that is driven by nostalgic yearning.    Goth Music: From Sound to Subculture reorients goth subcultural studies onto music: goth music must be recognized not only as simultaneously diverse and consistent, but also as the glue that holds together goth scenes from all over the world. It all starts with the music.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51001592906001,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51001595166993,"sku":"NIN9780367597412","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52531993870609,"sku":"NLS9780367597412","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0367597411.jpg?v=1751357509"},{"product_id":"popular-music-industries-and-the-state-book-shane-homan-9780367597979","title":"Popular Music Industries and the State","description":"This volume studies the relationships between government and the popular music industries, comparing three Anglophone nations: Scotland, New Zealand and Australia. At a time when issues of globalization and locality are seldom out of the news, musicians, fans, governments, and industries are forced to reconsider older certainties about popular music activity and their roles in production and consumption circuits. The decline of multinational recording companies, and the accompanying rise of promotion firms such as Live Nation, exemplifies global shifts in infrastructure, profits and power. Popular music provides a focus for many of these topics—and popular music policy a lens through which to view them.    The book has four central themes: the (changing) role of states and industries in popular music activity; assessment of the central challenges facing smaller nations competing within larger, global music-media markets; comparative analysis of music policies and debates between nations (and also between organizations and popular music sectors); analysis of where and why the state intervenes in popular music activity; and how (and whether) music fits within the ‘turn to culture’ in policy-making over the last twenty years. Where appropriate, brief nation-specific case studies are highlighted as a means of illuminating broader global debates.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51110632456465,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51110635110673,"sku":"NIN9780367597979","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52333042106641,"sku":"NLS9780367597979","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0367597977.jpg?v=1751390195"},{"product_id":"peak-music-experiences-book-ben-green-9780367553845","title":"Peak Music Experiences","description":"Peak music experiences are a recurring feature of popular music journalism, biography and fan culture, where they are often credited as pivotal in people’s relationships with music and in their lives more generally. 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Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam\/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970\/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed \"glitter rock\" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. 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While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51170229584145,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51170231681297,"sku":"NIN9781138916494","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52134258966801,"sku":"NLS9781138916494","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1138916498.jpg?v=1751080397"},{"product_id":"bruce-springsteen-and-popular-music-book-william-i-wolff-9781138943995","title":"Bruce Springsteen and Popular Music","description":"This interdisciplinary volume enters the scholarly conversation about Bruce Springsteen at the moment when he has reinforced his status of global superstar and achieved the status of social critic. Covering musical and cultural developments, chapters primarily consider work Springsteen has released since 9\/11—that is, released during a period of continued global unrest, economic upheaval, and social change—under the headings Politics, Fear and Society; Gender and Sexual Identity; and Toward a Rhetoric of Springsteen. The collection engages Springsteen and popular music as his contemporary work is just beginning to be understood in terms of its impact on popular culture and music, applying new areas of inquiry to Springsteen and putting Springsteen fan writing within the same binding as academic writing to show how together they create a more nuanced understanding of an artist. Established and emerging Springsteen scholars approach work from disciplines including rhetoric and composition, historical musicology, labor studies, American history, literature, communications, sociology, theology, and government. 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Radiohead’s work combines traditional rock sounds with a unique and experimental approach towards genre that sets the band apart from the contemporary mainstream. A play with diverse styles and audience expectations has shaped Radiohead’s musical output and opened up debates about genre amongst critics, fans, and academics alike. Interpretations speak of a music that is referential of the past but also alludes to the future. Applying both music- and discourse-analytical methods, the book discusses how genre manifests in Radiohead’s work and how it is interpreted amongst different audience groups. It explores how genre and generic flexibility affect the listeners’ search for musical meaning and ways of discussion. This results in the development of a theoretical framework for the study of genre in individual popular music oeuvres that explores the equal validity of widely differing forms of reception as a multidimensional network of meaning. While Radiohead’s music is the product of an eclectic mixture of musical influences and styles, the book also shows how the band’s experimental stance has increasingly fostered debates about Radiohead’s generic novelty and independence. It asks what remains of genre in light of its past or imminent transgression. Offering new perspectives on popular music genre, transgression, and the music and reception of Radiohead, the book will appeal to academics, students, and those interested in Radiohead and matters of genre. 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It focuses in particular on the finished work’s subject matter as embodied in Van Dyke Parks’ contentious yet little understood lyrics, with their low-resolution, highly allusive portrayals of western expansion’s archetypes, from Plymouth Rock, Massachusetts to Diamond Head, Hawaii. Documenting their multiple references and connotations, it argues that their invocations of national self-definition are part of a carefully crafted vision of American identity, society and culture both in tune and at odds with the times. Critical of the republic’s past practices but convinced that its ideals, values and myths still provided resources to redeem it, the recording is interpreted as a creative musical milestone, an enduring product of its volatile, radical, countercultural times, and an American pop art classic.  Of particular relevance to American Studies and popular culture scholars, Reading Smile will also appeal to those interested in 1960s popular music, not least to fans of Brian Wilson, Van Dyke Parks and the Beach Boys.","brand":"WoB","offers":[{"title":"US \/ NEW \/ INGRAM","offer_id":51274456563985,"sku":"NIN9780367622862","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52521179611409,"sku":"NLS9780367622862","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0367622866.jpg?v=1750781710"},{"product_id":"aging-and-popular-music-in-europe-book-abigail-gardner-9780367784676","title":"Aging and Popular Music in Europe","description":"Opening up the dialogue between popular music studies and aging studies, this book offers a major exploration of age and popular music across Europe. 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The book works with the notion of travelling, across borders, genres, sexualities, and media, highlighting the visibility of the aging body across a variety of European sites in order to establish popular music through the lens of age as a positive methodology with which to approach popular music cultures, and to offer a counter-narrative to age as decline. This book will appeal to scholars of popular music, popular culture, media studies, cultural studies, aging studies, and cultural gerontology.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51274479960337,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51274482581777,"sku":"NIN9780367784676","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52428036342033,"sku":"NLS9780367784676","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/036778467X.jpg?v=1750878374"},{"product_id":"places-of-van-morrisons-songwriting-book-geoff-munns-9781032253947","title":"The Places of Van Morrisons Songwriting","description":"What can we learn about Van Morrison's life and work as a songwriter through his songs? 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The book has four central themes: the (changing) role of states and industries in popular music activity; assessment of the central challenges facing smaller nations competing within larger, global music-media markets; comparative analysis of music policies and debates between nations (and also between organizations and popular music sectors); analysis of where and why the state intervenes in popular music activity; and how (and whether) music fits within the ‘turn to culture’ in policy-making over the last twenty years. 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These constructions are not only contradictory but also exclusive, prescribing a social and musical identity for the nation that ignores its greater creative, national, and cultural diversity. 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This interdisciplinary book brings together established and emerging scholars from a wide variety of backgrounds, including musicology, sociology, art history, literary theory, philosophy, politics, film studies and media studies. Bowie’s complexity as a singer, songwriter, producer, performer, actor and artist demands that any critical engagement with his overall work must be interdisciplinary and wide-ranging in its scope. The chapters are organised around the key themes of ‘textualities’, ‘psychologies’, ‘orientalisms’, ‘art and agency’ and ‘performing and influencing’ in Bowie’s work. 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The volume argues that K-Pop is a highly productive cultural arena in which South Korea’s globalizing and nationalizing forces and imaginations coincide, intermingle, and counteract with each other and in which the tension between both of these poles is played out musically, visually, and discursively. This book examines a vibrant example of contemporary popular music from the non-Anglophone world and provides deeper insight into the structure of popular music and the dynamics of cultural globalization through a combined set of ethnographic, musicological, and cultural analysis. 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The focus falls on artists, such as Lady Gaga, Madonna, Boy George, Diana Ross, Rufus Wainwright, David Bowie, Azealia Banks, Zebra Katz, Freddie Mercury, the Pet Shop Boys, George Michael, and many others. Hawkins builds his concept of queerness upon existing theories of opacity and temporality, which involves a creative interdisciplinary approach to musical interpretation. He advocates a model of analysis that involves both temporal-specific listening and biographic-oriented viewing. Music analysis is woven into this, illuminating aspects of parody, nostalgia, camp, naivety, masquerade, irony, and mimesis in pop music. One of the principal aims is to uncover the subversive strategies of pop artists through a wide range of audiovisual texts that situate the debates on gender and sexuality within an aesthetic context that is highly stylized and ritualized. Queerness in Pop Music also addresses the playfulness of much pop music, offering insights into how discourses of resistance are mediated through pleasure. Given that pop artists, songwriters, producers, directors, choreographers, and engineers all contribute to the final composite of the pop recording, it is argued that the staging of any pop act is a collective project. The implications of this are addressed through structures of gender, ethnicity, nationality, class, and sexuality. 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