Popular Music: The rock era, Volume 2Simon Frith |
Contents
art and commercialism in the record industry | 7 |
culture and conflict | 24 |
Rock tastes on rock as symbolic capital A study | 38 |
Flexibility postFordism and the music industry | 42 |
A sweet lullaby for world music | 62 |
the strange case of popular music | 107 |
Rationalization and democratization in the new technologies | 147 |
This is a sampling sport Digital sampling rap music | 169 |
A postscript for the nineties | 228 |
Music and meaning in the commercials | 253 |
Why 1955? Explaining the advent of Rock Music | 273 |
race and sex in Whole Lotta | 297 |
rock and roll and | 311 |
heavy metal sounds and images of gender | 343 |
discourses that struggle to define a genre | 393 |
Rock aesthetics and musics of the world | 412 |
Other editions - View all
Popular Music: Critical Concepts in Media and Cultural Studies ..., Volume 2 Simon Frith No preview available - 2004 |
Common terms and phrases
advertisers aesthetic affective alliances album analysis androgyny argues audience authenticity authorship band become broadcasting commercial constructed context creative critical cultural industries dance discourse dominant drum economic effect ethnomusicology example fans female musicians film format Frith function Garbarek gender genre girls global heavy metal Hugo Zemp ideological increasingly Jan Garbarek label listeners London major male meaning MP3.com music industry music video musical production Napster narrative particular performance Peterson play political pop music popular music post-modern practice Press programming punk radio record companies record industry relations relationship rock and roll rock music role roll apparatus Rolling Stone sampling sexual singer social sociology song sound stations strategies structure studio style tape taste television tion tradition Whole Lotta Shakin women world music York youth Zemp