Böcker i Routledge Studies in Popular Music-serien

This book explores the girl's voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers. It illuminates 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,

This book is the first to explore style and spectacle in glam popular music performance from a global perspective. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation, it engages with glam in its many manifestations and contexts. Glam exists at the intersections of glam r

This 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.

This volume examines the location of memories and histories of popular music and its multiple pasts, exploring the different `places¿ in which popular music can be situated, including the local physical site, the museum storeroom and exhibition space, and the digitized archive and display space made possible by the internet. Contributors from a broad range of disciplines such as archive studies, popular music studies, media and cultural studies, leisure and tourism, sociology, museum studies, communication studies, cultural geography, and social anthropology visit the specialized locus of popular music histories and heritage, offering diverse set of approaches. Popular music studies has increasingly engaged with popular music histories, exploring memory processes and considering identity, collective and cultural memory, and notions of popular culture¿s heritage values, yet few accounts have spatially located such trends to focus on the spaces and places where we encounter and engender our relationship with popular music¿s history and legacies. This book offers a timely re-evaluation of such sites, reinserting them into the narratives of popular music and offering new perspectives on their function and significance within the production of popular music heritage. Bringing together recent research based on extensive fieldwork from scholars of popular music studies, cultural sociology, and museum studies, alongside the new insights of practice-based considerations of current practitioners within the field of popular music heritage, this is the first collection to address the interdisciplinary interest in situating popular music histories, heritages, and pasts. The book will therefore appeal to a wide and growing academic readership focused on issues of heritage, cultural memory, and popular music, and provide a timely intervention in a field of study that is engaging scholars from across a broad spectrum of disciplinary backgrounds and theoretical perspectives.

This book offers critically-oriented case studies that examine the theory and politics of ambiguity. Covering popular music from around the globe, contributors approach the topic through music, sound, psyche, body, dance, performance, race, ethnicity, power, discourse, and history, visiting genres including gay circuit remixes, punk rock, Goth music, cross-dress performance, billboard 100 songs, global pop, and 19th-century minstrelsy. This book will be of interest to fields including Popular Music Studies, Gender and Sexuality Studies, Performance Studies, Queer Studies, and Sound Studies.

This book focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited scholarship, resulting in poorly critiqued discussions of gender and sexuality that underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy.

This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.

This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. 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. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world''s popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.

This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.

This book explores the girl¿s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers. It illuminates 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; girls¿ media culture; the changing anatomy of a girl¿s voice throughout adolescence; and girl¿s voices on youtube, at rock camps, on Disney Channel, and in audiobooks and film, uniting a range of scholarly perspectives to investigate girls¿ voices and girlhood in popular music.

This book examines in detail the many layers of one of the most intriguing and influential icons in popular culture. 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. This comprehensive book contributes a great deal to the study of popular music, performance, gender, religion, popular media and celebrity.

This book focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited scholarship, resulting in poorly critiqued discussions of gender and sexuality that underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy.

This book is a multi-faceted, interdisciplinary examination of the music and figure of Lady Gaga, combining approaches from scholars in cultural studies, art, fashion, and music, and contributing to popular musicology, film studies, queer studies, popular culture studies, and the burgeoning sub-discipline of aesthetics, philosophy of fashion. It visits both to pop cultural debates on the status of intertextuality, held in tension with originality, and to debates in women¿s and gender studies on the figuring of the sexualized female body.

This book explores popular music fandom from a cultural studies perspective that incorporates popular music studies, audience research, and media fandom. The essays draw together recent work on fandom in popular music studies and begin a dialogue with the wider field of media fan research, raising questions about how popular music fandom can be understood as a cultural phenomenon and how much it has changed in light of recent developments. Exploring the topic in this way broaches questions on how to define, theorize, and empirically research popular music fan culture, and how music fandom relates to other roles, practices, and forms of social identity. Fandom itself has been brought center stage by the rise of the internet and an industrial structure aiming to incorporate, systematize, and legitimate dimensions of it as an emotionally-engaged form of consumerism. Once perceived as the pariah practice of an overly attached audience, media fandom has become a standardized industrial subject-position called upon to sell box sets, concert tickets, new television series, and special editions. Meanwhile, recent scholarship has escaped the legacy of interpretations that framed fans as passive, pathological, or defiantly empowered, taking its object seriously as a complex formation of identities, roles, and practices. While popular music studies has examined some forms of identity and audience practice, such as the way that people use music in daily life and listener participation in subcultures, scenes and, tribes, this volume is the first to examine music fans as a specific object of study.