The Bloomsbury Handbook of Popular Music and Youth Culture

Höfundur: Andy Bennett (Útgáfa: 1)
The Bloomsbury Handbook of Popular Music and Youth Culture

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The Bloomsbury Handbook of Popular Music and Youth Culture provides a comprehensive and fully up-to-date overview of key themes and debates relating to the academic study of popular music and youth culture. While this is a highly popular and rapidly expanding field of research, there currently exists no single-source reference book for those interested in this topic. The handbook is comprised of 32 original chapters written by leading authors in the field of popular music and youth culture and covers a range of topics including: theory; method; historical perspectives; genre; audience; media; globalization; ageing and generation.

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Útgefandi
Bloomsbury USA
ISBN
9781501333705
Print ISBN
9781501333699
Format
ePub
Útgáfa
1
Höfundar
Andy Bennett
Tungumál
English
Útgefið
2022-12-29
Prent takmörkun á líftíma
100

Kaflar

  • Cover
  • Half-title Page
  • Title Page
  • Contents
  • Notes on Contributors
  • Acknowledgements
  • Introduction Popular music and youth culture
  • Part I Theory
  • 1 The past, present and future of subculture
  • Subculture studies: From past to present
  • Centre for Contemporary Cultural Studies
  • Neo-tribe/post-subculture/club culture
  • Where do we go from here? The present and the future
  • Intersectionality and resistance
  • Intersectionality and music subcultures
  • Resistance and reinforcement
  • Critical approach
  • Whole-life perspective
  • Intergenerational scenes
  • Work and career
  • Ageing bodies
  • Linking daily life with larger social contexts, agency and structure
  • Subcultures and political economy
  • Local and global
  • Physical and virtual
  • Future theoretical foundations … from the past
  • References
  • 2 ‘The Post-Subculturalist’: Some critical reflections over twenty years on
  • The Post-Subculturalist
  • The paradoxes of modernity: ‘From modern styles to postmodern codes’
  • Subcultural style: From the grand narratives of modernity to hyperfragmentation in the postmodern global village
  • The post-subculturalist?
  • Notes
  • References
  • 3 Music scenes
  • Setting the scene
  • Socio-spatiality and music-making
  • Subculture versus scene
  • Setting the scene
  • Conclusion
  • References
  • 4 The milieu culture of punk: Beyond the scene – a guide to thinking and researching culture
  • Defining milieu culture
  • Case studies
  • Conclusion
  • References
  • Part II Method
  • 5 Ethnography, popular music and youth culture: An anthropologist’s account
  • Ethnography and popular music
  • Music in culture and music as culture
  • Music-making in Liverpool and Milton Keynes
  • Reflections on an ethnographic experience
  • Entering the field and ‘going native’
  • Collecting ethnographic data
  • Online ethnography
  • Conclusion: From an anthropology of ethics to the ethics of anthropology
  • Notes
  • References
  • 6 Youth, music and social network analysis
  • Defining networks
  • Types of network
  • Network structures
  • Selection, influence and homophily
  • Status homophily
  • Youth and music in social space
  • Conclusion
  • Notes
  • References
  • 7 Contributions for a quantitative approach to contemporary youth cultures and popular music: A case study from Southern Europe
  • Current methodological approaches in the study of youth cultures and popular music
  • The different ways of being punk: A methodology for the establishment of typological profiles in the social space of Portuguese punk
  • Blank Generation, white-collar punks and cosmopolitanism: A platform of advanced connoisseurs
  • Another world, DIY careers and punkariart: Strategies of resilient entrepreneurs
  • Wait for the blackout: Male domination and ageing – experienced pioneers
  • Brave new world: Globalization, insurgent citizenship – hopeful neophytes
  • Conclusions
  • Notes
  • References
  • 8 ‘Images and words’: Textual analysis and its uses for metal music studies
  • Textual analysis: A history
  • Textual analysis in popular music studies
  • The uses of textual analysis in metal music studies
  • Engaging with the extramusical texts of metal
  • Conclusion
  • Note
  • References
  • 9 Should we call it cine-cultural studies? Cineworlding popular music and youth studies
  • Why cinematic research-creation for popular music and youth studies?
  • From cine-cultural studies to cineworlding
  • Technoculture entanglements in cinematic research-creation of music
  • Cineworlding plateaus
  • Easter Sunday 1967: God respects us when we work but loves us when we dance
  • Arriving
  • Getting high
  • Meditation
  • Community
  • 30 April 1999: Werner Herzog reads his Minnesota Declaration
  • 8 December 1929: Black and Tan
  • Jazz modernism
  • Jazz fiction but not fictional jazz
  • Rock’n’roll ethnofiction
  • Performativity
  • 2 February 2020: Cineworlding’s three assemblages
  • Territorial assemblage
  • Production assemblage
  • Screen assemblage
  • Conclusion
  • Notes
  • References
  • Part III History
  • 10 Counterculture and youth culture: Definitions, drifts, events, music, echoes
  • Definitions
  • Events
  • 1965–6
  • Trips Festival
  • Love Pageant Rally
  • Human Be-In – a Gathering of the Tribes
  • Monterey Pop Festival
  • Woodstock
  • Isle of Wight Festival
  • Altamont Festival
  • Music
  • Echoes
  • Notes
  • References
  • 11 Glam rock: Youth culture, performativity and sexuality
  • Defining glam rock
  • Glam rock, youth culture and neo-tribes
  • Performance and the gay experience
  • The gaze and performance
  • Conclusion
  • Note
  • References
  • 12 Time to DIY: A history of punk and indie
  • Punk and art
  • UK punk
  • Women in punk
  • Independent record labels
  • Indie
  • The Dunedin Sound
  • Conclusion
  • Note
  • References
  • 13 The dynamics of dance: An early history of electronic dance music
  • From disco to house to electronic/dance: ‘Continuity in discontinuity’
  • The House Sound of Chicago
  • The UK media field
  • A taste for the peripheral
  • The development of the compilation canon
  • The evolution of dance: Growth and differentiation
  • Conclusion
  • Notes
  • References
  • 14 Under a groove: Rap, hip-hop and their glocalization
  • What is hip-hop?
  • Rap music in the United States: An historical overview
  • Analytical perspectives on rap and hip-hop
  • The global hip-hop nation
  • Conclusion
  • Notes
  • References
  • Part IV Identity
  • 15 Structure and historicity of youth music tastes: A brief overview of forty years of theoretical debates
  • Youth cultures, subcultures and the concept of homology
  • The social stratification of taste and practices
  • Omnivorousness theory and openness to cultural diversity
  • Post-Bourdieusian theories of cultural tastes and practices
  • Generational music tastes and plurality of musical roles
  • Conclusion: The changing relationship between youth and music
  • References
  • 16 ‘Hey girl, don’t bother me’: Gender, sexuality and (in)visible communities in popular music and youth culture
  • Issues of/in industry, scene and genre
  • The role of the researcher and the impact of research
  • Dominant definitions, simplified narratives and silenced voices
  • Critiquing dominant theoretical approaches
  • Exploring queer space at UK music festivals
  • From Red Rash to the Abattoir: The queer edge of peripheral places
  • Vinyl collecting and gender in the contemporary UK Northern Soul scene
  • Gender politics and record collecting
  • Conclusion
  • Notes
  • References
  • 17 Beyond youth: Music scenes and ageing
  • The ongoing significance of music affiliations
  • Towards a more private, personalized fandom?
  • Negotiating careers and fandom
  • Families, children and gender
  • Older bodies and self-understandings
  • Extending and nuancing examinations of music and the life-course
  • Conclusion
  • References
  • 18 When we were young: Popular music, youth and memory
  • Popular music and mediated memory
  • Collective memory, popular music and scenes
  • Memory and youth culture
  • The ‘reminiscence bump’ for popular music
  • Generational bumps and changing transitions
  • Youth culture, transitions and narrative maps
  • Peak music experiences and memories of youth
  • Childhood and early memories
  • First choices
  • Independence and mobility
  • Difference and belonging
  • Conclusion
  • References
  • Part V Media
  • 19 Youth radio, music cities and the role of urban sociability: A case study of Radio KUT FM (Austin) and Triple R FM (Melbourne)
  • Background to the study
  • Youth radio, music-making, urban ecologies and sociability
  • Radio’s missing link in music cities
  • Approach and methodology
  • Data analysis
  • European and alternative/third sector radio models
  • Implications of brand journalism
  • Radio KUT FM
  • Alternative and third sector student radio
  • 1991: Austin, self-proclaimed live music capital of the world
  • Radio Triple R FM
  • Alternative/third sector radio model
  • 2018: Melbourne, self-identified live music capital of the world
  • Conclusion
  • References
  • 20 Youth, zines and music scenes
  • History
  • Punk
  • Rave
  • Riot grrrl
  • Queer zines
  • Conclusion
  • References
  • 21 Youth, identity and everyday sound environments in the age of digital technologies
  • Music diffusion and control in social spaces
  • What the control over sound environments is for
  • Everyday sound environments, mediations and youth identities
  • Concluding thoughts: Youth identities within sound environments
  • References
  • 22 Popular music in a brand culture
  • From advertisements to brand culture
  • MTV and audience commodification
  • Musicians as commodities and labourers
  • Popular music and promotional culture
  • Brand culture
  • Performances as advertisements
  • From text to medium
  • Participatory labour in an algorithmic brand culture
  • Conclusion
  • References
  • 23 Singing and soundtracking identity: Youth, music and film
  • Spectacle, youth and rock’n’roll
  • Music as nostalgic commodity
  • Youth, music and cinema: A longer history
  • Commercialization and the teen audience
  • Persona and performance: The case of Elvis
  • Fads, the fab four and the counterculture
  • Soundtracks and shopping malls
  • Syntax and semantics and the reconstructionist musical
  • Nostalgia and critique
  • Conclusion
  • References
  • Part VI Place
  • 24 Youth, music and the city: A mapping of Leeds in five scenes
  • Scene 1: ‘Leeds is moving to a brand new beat’? Leeds Arena, the urban imaginary and the ‘tween’
  • Scene 2: Unlocking the city? The Key Club, the material city and youth subcultures
  • Scene 3: Going underground? Wire, the 24-hour city and post-subcultures
  • Scene 4: A hole in the map? Hip-hop, ‘urban music’ and the racialization of urban youth
  • Scene 5: The Viaduct – drag musical spaces, youth sexualities and queer scenes
  • Conclusions: Youth, popular music, cities
  • Notes
  • References
  • 25 Rural (un)cool: Alternative geographies of young people and music
  • Rurality as an act of independence
  • The urban bias in youth culture studies
  • Outsider innovation and the DIY ethos
  • Genre fluidity
  • Caravan dreaming
  • Connecting with Korea on my laptop
  • Conclusion
  • References
  • 26 Music festivals and youth
  • A brief history of music festivals in the UK
  • Drugs
  • Sex and nudity
  • Disorder
  • Squalor
  • Conclusion
  • Notes
  • References
  • 27 Music, youth and virtual spaces
  • Conclusion
  • References
  • 28 Independent music and independent music scenes: From DIY-led collectives to individualized professionals?
  • Defining grassroots, independent music and the scene
  • Three phases of independent: From business pioneers to pure idealism and professionalization
  • Current developments of independent music scenes and DIY actors: The decline of scene collectivity?
  • Conclusion
  • Notes
  • References
  • Part VII Music-Making
  • 29 Youth and DIY music and media-making
  • A brief history of DIY cultures
  • Skills acquisition in informal learning contexts
  • From DIY practice to DIY careers
  • Conclusion
  • Note
  • References
  • 30 Cultivating community on YouTube and expanding through social media
  • The popularity of YouTube as a musical medium
  • Troye Sivan: Becoming an entertainer on YouTube1
  • Creative breakthrough from the evolution of YouTube
  • Musical communities on YouTube
  • Creating an online community: The case of Insaneintherainmusic and Carlos Eiene
  • Middle school excursions to the computer in the library
  • Getting started on YouTube and developing friendships through collaboration
  • Joining new communities through streaming services
  • Playing with clones or an ensemble of others
  • Gathering ensembles to perform in physical spaces
  • Fostering community through meaning and text on YouTube
  • Inviting viewers to make music
  • Virtual spaces for conversation and connection
  • Concluding thoughts
  • Notes
  • References
  • 31 Home recording, production and young musicians working in the context of the ‘new’ music industry
  • From analogue to digital: The impact on independent musicians
  • Deterritorialized music and the opportunity to cross-collaborate through an interconnected, networked environment for independent musicians
  • Tools and processes now being used within the practice of digital home-recording
  • Networked communities, lo-fi subgenres and the use of production tools by young musicians in the new music industry
  • Artist compensation and the impact of the digital economy on the industry workforce
  • The role of the artist when engaging with their audience in the digital age
  • Streaming platforms, Spotify and personalization
  • From an ownership model to an access/context model
  • Noon Pacific: Single song deals, crowdfunded and audience curated
  • The future for independent musicians in terms of workflow, platforms, audience interaction and distribution
  • Conclusion
  • Notes
  • References
  • 32 Youth culture, technology and tribute entertainment
  • Changing perceptions of youth
  • The role of cover bands in 1960s youth culture
  • Culture and technology in the 1960s
  • DJs, discotheques and the demise of cover bands
  • Music video, postmodern youth and tribute entertainment in the 1980s
  • The future of paying homage
  • An acceptable substitute
  • Notes
  • References
  • Index
  • Copyright Page