Mapping the Beat
Popular Music and Contemporary Theory
Published on 9. November 1997
Book
Hardback
320 pages
978-1-57718-077-7 (ISBN)
Description
One of the most vibrant and exciting new areas of academia inquiry falls under the cross disciplinary category of cultural studies. Within this field, popular music has been commonly analyzed to understand our world through the social dynamics, cultural production and consumption of popular music. Recent works on popular music studies examine the institutional and economic limitations that define popular music. Other works have addressed the textual aspects; representations and symbolic meaning in popular music as reflected in contemporary society. Other books look solely at the phenomenon of fandom and music subcultures. This collection cuts across all these ways of analyzing culture and is done through looking at spaces of noise and places of music. Included in this volume are some of the best cultural theorists and their reflections on modern life through music and representation.
Reviews / Votes
" Mapping the Beatreally does attempt to map out contemporary pop music in relation to the best and newest cultural and social theory. The collection as a whole would be useful for undergraduate courses- many of the pieces are short, accessible and offer a useful comparative source to place against the textbooks. For researchers, there is enough criting writing here to entice thoughtful reflection on Deleuze and Guattari or spatial ontologies and pop music." Bookends 1998.More details
Language
English
Place of publication
Oxford
United Kingdom
Publishing group
John Wiley and Sons Ltd
Target group
College/higher education
Professional and scholarly
Dimensions
Height: 229 mm
Width: 152 mm
Weight
672 gr
ISBN-13
978-1-57718-077-7 (9781577180777)
Copyright in bibliographic data is held by Nielsen Book Services Limited or its licensors: all rights reserved.
Schweitzer Classification
Persons
Content
Part I: Noise, Performance and the Politics of Sound: 1. Mapping the Beat: The Space of Noise and the Place of Music: Andrew Herman (Drake University), Thomas Swiss (Drake University) and John Sloop (Vanderbilt University). 2. Not The Same: Race, Repetition and Difference in Hip-Hop: Russell Potter (Rhode Island College). 3. Kick Out the Jams!: The MC5 and the Politics of Noise: Steve Waksman (University of Minnesota). 5. Queers, Punks, and Alternative Acts: Cynthia Fuchs (George Mason University). Part II: History, Technology and Policy: 6. Drumming and Memory: Scholarship, Technology, and Music-Making: Andrew Goodwin (University of San Fransisco). 7. The History of Rock's Pasts through Rock Covers: Deena Weinstein (DePaul University). 8. Repressive Representations: Patriarchy and Femininity in Rock Music of the Counterculture: Sheila Whitely (Salford University). 9. Popular Music and the Synergy of Corporate Culture: David Sanjek (Broadcast Music, Inc). 10. Fields of Practice: Musical Production, Public Policy, and the Market: Holly Kruse (La Salle University). Part III: Location and Movement in the Spaces of Popular Music: 11. Crossing Over: Selena's Tejana Music and the Discourse of Borderlands: Ramona Liera-Schwichtenberg (Wichita State University). 12. Yo Quiero Mi MTV: Making Music Television for Latin America: Robert Hanke (Journalist). 13. Studying Rock: Towards a Materialist Ethnography: Tony Kirschner (University of Illinois). 14. Everybody Loves Our Town: Scenes and Spatialization: Mark Olson (University of North Carolina). 15. Negativeland, Outlaw Judgements, and the Politics of Cyberspace: Andrew Herman (Drake University) and John Sloop (Vanderbilt University). Index.