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The Bloomsbury Handbook of Rock Music Research

PDF The Bloomsbury Handbook of Rock Music Research New York : Bloomsbury Academic, 2020

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Book author
  1. Allan Moore
  2. Paul Carr
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The Bloomsbury Handbook of Rock Music Research is 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.

Contributors

Ralf von Appen is Professor for History and Theory of Popular Music at the University of Music and Performing Arts Vienna, Austria. He holds a PhD in musicology from the University of Gießen, Germany, where he worked as a teaching and research assistant from 2004 to 2019. Ralf von Appen has published widely about the history, psychology, aesthetics, and analysis of popular music, and is coeditor of Song Interpretation in 21st- Century Pop Music (2015). He has been chairman of the German Society for Popular Music Studies since 2008.

Samantha Bennett is Professor of Music at the Australian National University. She is the author of two monographs, Modern Records, Maverick Methods (2018) and Peepshow, a 33 1/3 series edition on the album by Siouxsie and the Banshees (2018). She is also a coeditor of Critical Approaches to the Production of Music and Sound (2018) and Popular Music, Stars and Stardom (2018). Samantha is widely published on the technological, sound recording, and production aesthetics of recorded popular music.

Nicole Biamonte is Associate Professor of Music Theory at McGill University. Among her publications are articles and book chapters on pitch structures, form, and meter and rhythm in popular music (in Music Theory Spectrum, Music Theory Online, and elsewhere); exoticism in the music of Rush; musical representation in the video games Guitar Hero and Rock Band in her own edited collection Pop-Culture Pedagogy in the Music Classroom (2010); and historicist aspects of nineteenth-century art music (in Beethoven Forum and Intégral). She recently completed a three-year term as the editor of the journal Music Theory Online.

Andrew Blake teaches at the University of the Arts London, and is a visiting fellow of the University of Winchester. He has written widely on literature, sport, and music, with books including The Music Business (1992), The Body Language: The Meaning of Modern Sport (1996), The Land Without Music: Music, Culture and Society in Twentieth Century Britain (1997), Living Through Pop (1999), and Popular Music in the Age of Multimedia (2007).

Nick Braae is an academic staff member in Music at the Waikato Institute of Technology in Hamilton, New Zealand, where he teaches music theory, composition, songwriting, cultural studies, and music history. He completed a PhD on the idiolect of British rock band Queen, and he has since published widely on the group, as well as on New Zealand
popular music and cultural identity. Outside of teaching, Nick is active as a session pianist, a musical theatre composer/arranger, and a musical director and conductor for shows including, recently, We Will Rock You, Sweet Charity, The Last Five Years, and Sister Act.

Lori Burns is Professor and Director of the School of Music at the University of Ottawa. Her research merges cultural theory and musical analysis to explore representations of gender in popular music. In addition to her published articles and monograph (Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music, 2002), she has coedited two collections: The Pop Palimpsest: Intertextuality in Recorded Popular Music, with Serge Lacasse (2018) and The Bloomsbury Handbook to Popular Music Video Analysis, with Stan Hawkins (2019). She is coeditor of the Ashgate Popular and Folk Music series with Justin Williams.

Paul Carr is Professor in Popular Music Analysis at the University of South Wales, UK. His research interests focus on musicology, widening access, the music industry, and pedagogical frameworks for music-related education. His most recent publications include an edited collection on Frank Zappa (2014), two chapters in the Oxford Handbook of Music and Virtuality (2016), a monograph on Sting (2017), and a special edition of the journal Popular Music History on lost musical histories (2020). He also works as a forensic musicologist on a consultancy basis, with recent activities including work for Warner Chappell and Universal Music on copyright infringement cases.

Brett Clement is Associate Professor of Music Theory at Ball State University. His research focuses on repertoires that fuse elements of popular and classical music, including progressive rock and the music of Frank Zappa. His work has been published in Gamut, Music Theory Spectrum, Music Theory Online, Music Analysis, Perspectives of New Music, and Journal of Music Theory.

John Covach is Director of the University of Rochester Institute for Popular Music and Professor of Theory at the Eastman School of Music. He has published dozens of articles on topics dealing with popular music, twelve-tone music, and the philosophy and aesthetics of music. He is the principal author of What’s That Sound? An Introduction to Rock Music (2018) and has coedited Understanding Rock (1997), American Rock and the Classical Music Tradition (2000), Traditions, Institutions, and American Popular Music (2000), Sounding Out Pop (2010), and the Cambridge Companion to the Rolling Stones (2019).

Trevor de Clercq is Assistant Professor in the Department of Recording Industry at Middle Tennessee State University, where he coordinates the musicianship curriculum and teaches coursework in audio theory and music technology. His research focuses on the ways that contemporary popular music departs from traditional theoretical frameworks, developed primarily within the context of common-practice-era music, especially as shown through computational methods. He holds a PhD in music theory from the Eastman School of Music.

Mark Duffett is Reader in Media and Cultural Studies at the University of Chester. He is an Oxford-educated, Gales-listed popular music scholar who specializes in music fandom and Elvis Presley. His publications include Understanding Fandom (2013) and Counting Down Elvis (2018). He has been a keynote speaker at events in Finland and the UK, and also been an invited participant at conferences in several places such as Moscow and Rotterdam. His current projects include a volume coedited with Beate Peter called Popular Music and Automobiles (2020), plus another edited volume titled Rethinking Elvis (2020).

Theodore Gracyk is Professor of Philosophy at Minnesota State University Moorhead and (since 2013) the coeditor of The Journal of Aesthetics and Art Criticism. He is the author of four philosophical books on music, including Rhythm and Noise: An Aesthetics of Rock Music (1996) and On Music (2013). Another of his books was corecipient of the 2002 Woody Guthrie Award (the 2002 IASPM/US Book Award). With Andrew Kania, he coedited The Routledge Companion to Philosophy and Music (2011), and with Lee B. Brown and David Goldblatt, cowrote Jazz and the Philosophy of Art (2018).
Dai Griffiths is Senior Lecturer in Music at Oxford Brookes University, and author of books on Radiohead and Elvis Costello. He has also published many papers on popular music, including on the history of pop music since punk, the role of words in songs, elevating modulation, and the rock critic Robert Christgau. He lives in Oxford, England.

Alexander C. Harden is a researcher in narratology and popular music analysis. He is a recent graduate of the University of Surrey for his doctoral thesis “Narrativity, Worldmaking, and Recorded Popular Song” and received an International Association for the Study of Popular Music (UK & Ireland Branch) Andrew Goodwin Memorial Prize for his essay “A World of My Own.”

Stan Hawkins is Professor of Musicology at the University of Oslo and the University of Agder, Norway. He is author of Settling the Pop Score (2002), The British Pop Dandy (2009), Prince: The Making of a Pop Music Phenomenon (co-authored with Sarah Niblock, 2011), and Queerness in Pop Music (2016). He has edited numerous articles on the topics of space and place, audiovisuality, critical musicology, gender, and listening. He was coeditor of the Ashgate Popular and Folk Music series (with Derek Scott and Lori Burns) from 2010 to 2019. In 2016 he was elected to the Norwegian Academy of Science and Letters.

Sarah Hill is Senior Lecturer in Music at Cardiff University and coordinating editor of the journal Popular Music. She has published on Welsh-language popular music and cultural identity, female vocality, progressive rock, and politics and popular music in 1968. Her most recent book is San Francisco and the Long 60s (2016).

Shane Homan teaches media studies at Monash University, Melbourne. His most recent book, coauthored with Martin Cloonan and Jen Cattermole, is Popular Music Industries and the State: Policy Notes (2016). He is currently project leader on the Australian Research Council grant Interrogating the Music City: Pop and the Cultural Economy of Melbourne; and a project member on the Australian Research Council grant The Economic and Cultural Value of Australian Music Exports at Newcastle University, Australia.

Paula Hearsum is a principal lecturer in Music and Media at the University of Brighton. Her professional background includes a decade as a staff music journalist for Vox. She also has written for The Times, NME, Everywoman, and Sounds, and published Manic Street Preachers: Design for Living (1997). Her research considers the dominant social discourses and narratives through the mediation of popular musicians’ deaths and the intersecting arenas of popular music, journalism, gender, and death studies. She is currently working with the British Library on an oral history of UK popular music scholars.

Martin James is Professor of Creative and Cultural Industries at Solent University, Southampton. His research interests include music journalism and the printed and digital music press; music and cultural cities; and hidden histories of late twentieth-century alternative musics including punk, post-punk, and electronic music. He coauthored Understanding the Music Industries (2013) and has contributed to journals including Popular Music, Celebrity Studies, and Punk & Post-Punk. He has published a number of acclaimed books, including State of Bass: Jungle—The Story So Far (1997, 2020). Martin is also an internationally published music critic who has contributed to numerous music magazines and newspapers.

Olivier Julien lectures in the history and musicology of popular music at Sorbonne University, Paris. He is the editor of Sgt. Pepper and the Beatles: It Was Forty Years Ago Today (2009) and Over and Over: Exploring Repetition in Popular Music (2018) with Christophe Levaux.

Katherine Meizel is Associate Professor of Ethnomusicology at Bowling Green State University. Her book Idolized: Music, Media, and Identity in American Idol was published in 2011. Most recently she coedited the Oxford Handbook of Voice Studies (2019) with Nina Eidsheim and authored Multivocality: Singing on the Borders of Identity (2020).

Damon Minchella is Course Leader and Senior Lecturer in the Faculty of Creative Industries at the University of South Wales, with his research centering on the representations that popular music practitioners make in regard to the messy world of creativity. He is a Brit Award nominee and has achieved professional success in a musical career that includes performing with the Who, Paul McCartney, Amy Winehouse, Paul Weller, Oasis, Jimmy Page, and Dr. John, among others. Damon is currently recording and touring with Richard Ashcroft and contributed a chapter to Critical Approaches to the Production of Music and Sound (2018).

Allan Moore is Emeritus Professor in the Department of Music and Media at the University of Surrey. He is best known for his work on the analysis and hermeneutics of popular music, particularly in major monographs, in more than sixty academic papers and seventy (mainly BBC) broadcasts, and also in overseeing various edited collections. A longtime editor of Popular Music and cofounder of Twentieth-Century Music, he is series editor of Routledge’s recently commissioned series Music’s Interdisciplines. He has particular interests in rock music theory, progressive rock, the recorded folksong of northwestern Europe, modernist concert music, and late tonal piano miniatures.

Laura Niebling is a media scholar at the University of Regensburg, where she teaches the history of film and digital media. She has worked extensively on popular music and (documentary) film in German and Anglo-American history and is the author ofRockumentary—Theorie, Geschichte und Industrie (2018) and the coeditor of Populäre Musikkulturen im Film (2016). Her current research has shifted the focus to the material history of sonic media and telecommunication, with work on the history of sound carriers in Germany after 1945 and a comprehensive project on the history of German telemedicine.

Taylor Myers is a PhD candidate in music theory and a part-time lecturer at Rutgers University, where she obtained a master’s degree in 2015. Her dissertation is a theoretical approach to the analysis of genre in popular music. She has presented work at local, national, and international conferences and has a forthcoming coauthored chapter on the function of form in Beyoncé’s protest music. While focusing on genre in popular music, Taylor continues to pursue other research interests including feminist theory and opera studies.

Brad Osborn is Associate Professor of music theory and a faculty affiliate in American Studies at the University of Kansas. He is the author of the monograph Everything in Its Right Place: Analyzing Radiohead (2017). Osborn’s other research on post-millennial rock music is published in Music Theory Spectrum, Perspectives of New Music, Music Analysis, and Music Theory Online. Brad writes and records shoegazey post-rock as the artist D’Archipelago.

Katherine Reed is an assistant professor of musicology at California State University, Fullerton. Her research interests include musical semiotics, the use of preexisting music in film, and British popular music, particularly David Bowie’s works of the 1970s. Reed’s work has appeared in Popular Music and Society, Music and the Moving Image, Musicology Now, and the Society for American Music’s Digital Lectures series. She is the coeditor of the forthcoming collection Music in Twin Peaks: Listen to the Sounds, and is at work on her current book project, Hooked to the Silver Screen: David Bowie and the Moving Image.

Motti Regev is a cultural sociologist. His work on popular music focuses on the case of Israel and on the globalization of pop-rock music. His books in English include Popular Music and National Culture in Israel (2004, with Edwin Seroussi) and Pop-Rock Music: Aesthetic Cosmopolitanism in Late Modernity (2013). He is Professor of Sociology at the Open University of Israel.

Roy Shuker is Adjunct Professor in Media Studies at Victoria University of Wellington, New Zealand. He is the author of Understanding Popular Music Culture (1994), Popular Music: The Key Concepts (1998), and Wax Trash and Vinyl Treasures: Record Collecting as a Social Practice (2010).

Geoff Stahl is Senior Lecturer in media studies at Victoria University of Wellington, Aotearoa/New Zealand. His research areas include scenes and subcultures, urban studies, semiotics, and food studies. His publications include coauthoring Understanding Media Studies (2009), editing Poor, But Sexy: Reflections on Berlin Scenes (2014), and coediting Made in Australia and Aotearoa/New Zealand: Studies in Popular Music (with Shelley Brunt 2018), as well as articles on urban musical culture in Berlin, Montreal, and Wellington. He has recently begun researching food and drink cultures in the city and has published on mock meats.

Jon Stratton is an adjunct professor in the School of Creative Industries, University of South Australia. Jon has published widely in cultural studies, Australian studies, media studies, Jewish studies, and on race and multiculturalism. He is the author of When Music Migrates: Crossing British and European Racial Faultlines 1945–2010 (2014) and coeditor of Black Popular Music in Britain Since 1945 (with Nabeel Zuberi, 2014).

Steve Waksman is Sylvia Dlugasch Bauman Professor of American Studies and Professor of Music at Smith College, Massachusetts, USA. He is the author of Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (2001) and This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (2009), and coeditor of the Sage Handbook of Popular Music (with Andy Bennett, 2015). Currently, he is writing a book on the history of US live music.

Jeremy Wallach is Professor of Popular Culture at Bowling Green State University. An anthropologist specializing in popular musics, he has written or cowritten over two dozen research articles; coedited an issue of Asian Music (2013); authored Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997–2001 (2008; Indonesian translation, 2017); and coedited Metal Rules the Globe: Heavy Metal Music Around the World (with Harris M. Berger and Paul D. Greene, 2011). Wallach is cofounder and former chair of the Society for Ethnomusicology Popular Music Section and has presented his research in many countries around the world.

Sergio Pisfil is a postdoctoral research fellow at Sorbonne University, France. His research interests include the history, aesthetics, and philosophy of popular music and he has published in various edited collections and specialized journals of popular music. His PhD, gained at the University of Edinburgh under the supervision of Simon Frith and Sean Williams, focused on the history of live sound and its connection to rock music between 1967 and 1973. He is currently coediting Researching Live Music: Gigs, Tours, Concerts and Festivals (2021).

Simon Zagorski-Thomas is Professor at the University of West London and founded and runs the 21st Century Music Practice Research Network. He edits the Cambridge Elements series and Bloomsbury book series on 21st Century Music Practice and is ex- chairman and cofounder of the Association for the Study of the Art of Record Production. He worked for twenty-five years as a composer, sound engineer, and producer. His most recent publications include Musicology of Record Production (2017) and two coedited books: The Art of Record Production (with Simon Frith, 2012) and The Bloomsbury Handbook of Music Production (with Andrew Bourbon, 2020).
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Звукорежиссер помогает сделать из творческого произведения "продукт", который передает заложенную автором идею слушателю. Фактически, этот специалист является связующим звеном между творчеством и технологиями, без него не обходится ни один концерт, кинофильм, театральное представление или шоу.

Звукорежиссер должен понимать акустику и физику звука, в чем могут хорошо помочь такие книги по звукорежиссуре: Modern Recording Techniques (Дэвид Майлс Хубер), Mixing Secrets For The Small Studio (Майк Сеньйор), The Art Of Mixing: A Visual Guide To Recording, Engineering And Production (Дэвид Гибсон), The Recording Engineer’s Handbook (Бобби Овсински);

Кроме этого, не забывайте читать статьи для звукорежиссеров, где можно почерпнуть не только информацию, но и некоторые хитрости опытных специалистов.