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Bad Music
Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" by the academy that now has courses on these and many other types of music. This book addresses why this is so through a series of essays on different musical forms and performers. It looks at alternate ways of judging musical performance beyond the critical/academic nexus, and suggests new paths to follow in understanding what makes some music "popular" even if it is judged to be "bad." For anyone who has ever secretly enjoyed ABBA, Kenny G, or disco, Bad Music will be a guilty pleasure!
Latin Jazz
Jazz has always been a genre built on the blending of disparate musical cultures. Latin jazz illustrates this perhaps better than any other style in this rich tradition, yet its cultural heritage has been all but erased from narratives of jazz history. Told from the perspective of a long-time jazz insider, Latin Jazz: The Other Jazz corrects the record, providing a historical account that embraces the genre's international nature and explores the dynamic interplay of economics, race, ethnicity, and nationalism that shaped it.
Sounding Salsa
This ethnographic journey into the New York salsa scene of the 1990s is the first of its kind. Written by a musical insider and from the perspective of salsa musicians, Sounding Salsa is a pioneering study that offers detailed accounts of these musicians grappling with intercultural tensions and commercial pressures. Christopher Washburne, himself an accomplished salsa musician, examines the organizational structures, recording processes, rehearsing, and gigging of salsa bands, paying particular attention to how they created a sense of community, privileged "the people" over artistic and commercial concerns, and incited cultural pride during performances.Sounding Salsa addresses a range of issues, musical and social. Musically, Washburne examines sound structure, salsa aesthetics, and performance practice, along with the influences of Puerto Rican music. Socially, he considers the roles of the illicit drug trade, gender, and violence in shaping the salsa experience. Highly readable, Sounding Salsa offers a behind-the-scenes perspective on a musical movement that became a social phenomenon.
Jazz/Not Jazz
“Jazz/Not Jazz is an innovative and inspiring investigation of jazz as it is practiced, theorized and taught today. Taking their cues from current debates within jazz scholarship, the contributors to this collection open up jazz studies to a transdisciplinarity that is rich in its diversity of approaches, candid in its appraisals of critical worth, transparent in its ideological suppositions, and catholic in its subjects/objects of inquiry.”—Kevin Fellezs, author of Birds of Fire: Jazz, Rock, Funk and the Creation of Fusion. “This collection is a delight. Each essay opens up some previously ignored aspect of jazz history. Anyone who knows the New Jazz Studies and is wise enough to acquire this book will immediately devour it.”—Krin Gabbard, author of Hotter Than That: The Trumpet, Jazz, and American Culture. “This volume is truly one of a kind, eminently readable and filled with new insights. It will make an extremely important contribution to jazz literature.”—Jeffrey Taylor, Director, H. Wiley Hitchcock Institute for Studies in American Music, Brooklyn College.
Performing Glam Rock
Explores the many ways glam rock paved the way for new explorations of identity in terms of gender, sexuality, and performance
Blowin’ the Blues Away
“Blowin' the Blues Away makes a major contribution to our understanding of the contexts and meanings of jazz performance. Jackson makes his own mark by not only documenting 'the jazz scene' in New York but also by providing a critical vocabulary and methodology for future researchers. As such, Jackson’s book provides the most in-depth understanding of the rituals and meanings of jazz performance to date." —Farah Jasmine Griffin, author of Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever
The Palgrave Handbook of Music in Comedy Cinema
This handbook tackles the understudied relationship between music and comedy cinema by analysing the nature, perception, and function of music from fresh perspectives. Its approach is not only multidisciplinary, but also interdisciplinary in its close examination of how music and other cinematic devices interact in the creation of comedy. The volume addresses gender representation, national identities, stylistic strategies, and employs inputs from cultural studies, musicology, music theory, psychology, cognitivism, semiotics, formal and stylistic film analysis, and psychoanalysis. It is organised in four sections: general introductions, theoretical investigations, music and comedy within national cinemas, and exemplary case studies of films or authors.
The Philosopher King
Texas-born T Bone Burnett is an award-winning musician, songwriter, and producer with over forty years of experience in the entertainment industry. In The Philosopher King, Heath Carpenter evaluates and positions Burnett as a major cultural catalyst by grounding his work, and that of others abiding by a similar "roots" ethic, in the American South. Carpenter examines select artistic productions created by Burnett to understand what they communicate about the South and southern identity. He also extends his analysis to artists, producers, and cultural tastemakers who operate by an ethic and aesthetic similar to Burnett's, examining the interests behind the preservationist/heritage movement in...
The Selling Sound
Few expressions of popular culture have been shaped as profoundly by the relationship between commercialism and authenticity as country music has. While its apparent realism, sincerity, and frank depictions of everyday life are country’s most obvious stylistic hallmarks, Diane Pecknold demonstrates that commercialism has been just as powerful a cultural narrative in its development. Listeners have long been deeply invested in the “business side” of country. When fans complained in the mid-1950s about elite control of the mass media, or when they expressed their gratitude that the Country Music Hall of Fame served as a physical symbol of the industry’s power, they engaged directly wit...
The Value of Popular Music
In this book, Alison Stone argues that popular music since rock-‘n’-roll is a unified form of music which has positive value. That value is that popular music affirms the importance of materiality and the body, challenging the long-standing Western elevation of the intellect above all things corporeal. Stone also argues that popular music’s stress on materiality gives it aesthetic value, drawing on ideas from the post-Kantian tradition in aesthetics by Hegel, Adorno, and others. She shows that popular music gives importance to materiality in its typical structure: in how music of this type handles the relations between matter and form, the relations between sounds and words, and in how it deals with rhythm, meaning, and emotional expression. Extensive use is made of musical examples from a wide range of popular music genres. This book is distinctive in that it defends popular music on philosophical grounds, particularly informed by the continental tradition in philosophy.
