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Metal, Rock, and Jazz
A lively comparison of musical meaning in Ohio's Jazz, metal, and hard rock scene. This vivid ethnography of the musical lives of heavy metal, rock, and jazz musicians in Cleveland and Akron, Ohio shows how musicians engage with the world of sound to forge meaningful experiences of music. Unlike most popular music studies, which only provide a scholar's view, this book is based on intensive fieldwork and hundreds of hours of in-depth interviews. Rich descriptions of the musical life of metal bars and jazz clubs get readers close to the people who make and listen to the music. Of special interest are Harris M. Berger's interviews with Timmy "The Ripper" Owens, now famous as lead singer for the pioneering heavy metal band, Judas Priest. Owens and other performers share their own experiences of the music, thereby challenging traditional notions of harmony and musical structure. Using ideas from practice theory and phenomenology, Berger shows that musical perception is a kind of practice, both creatively achieved by the listener and profoundly informed by social context.
Metal Rules the Globe
Heavy metal might not have been the most likely popular music genre to become global, but it has. This collection brings together cultural studies and pop music accounts of metal around the world, including Indonesia, Malaysia, Singapore, Nepal, Brazil, Malta, Slovenia, China, Japan, Norway, Israel, Easter Island, and more.
Identity and Everyday Life
A critical examination of core issues in social and cultural theory.
Stance
Why does music move us? How do the immediate situation and larger social contexts influence the meanings that people find in stories, rituals, or films? How do people engage with the images and sounds of a performance to make them come alive in sensuous, lived experience? Exploring these questions, Stance presents a major new theory of emotion, style, and meaning for the study of expressive culture. In clear language, the book reveals dimensions of lived experience that everyone is aware of but that scholars rarely account for. Though music is at the heart of the book, its arguments are illustrated with a wide range of clear examples—from the heavy metal concert to the recital hall, from festivals to dance, stand-up comedy, the movies, and beyond. Helping ethnographers get closer to the experiences of the people with whom they work, this book will be of immediate interest to anyone in ethnomusicology, folklore, popular music studies, anthropology, or performance studies.
Theory for Ethnomusicology
Theory for Ethnomusicology: Histories, Conversations, Insights, Second Edition, is a foundational work for courses in ethnomusicological theory. The book examines key intellectual movements and topic areas in social and cultural theory, and explores the way they have been taken up in ethnomusicological research. New co-author Harris M. Berger and Ruth M. Stone investigate the discipline’s past, present, and future, reflecting on contemporary concerns while cataloging significant developments since the publication of the first edition in 2008. A dozen contributors approach a broad range of theoretical topics alive in ethnomusicology. Each chapter examines ethnographic and historical works f...
Theory for Ethnomusicology
For courses in ethnomusicological theory. This book covers ethnomusicological theory, exploring some of the underpinnings of different approaches and analyzing differences and commonalities in these orientations. This text addresses how ethnomusicologists have used and applied these theories in ethnographic research.
Phenomenological Approaches to Popular Culture
Within popular culture studies, one finds discussions about quantitative sociology, Marxism, psychoanalysis, myth criticism, feminism, and semiotics, but hardly a word on the usefulness of phenomenology, the branch of philosophy concerned with human experience. In spite of this omission, there is a close relationship between the aims of phenomenology and the aims of popular culture studies, for both movements have attempted to redirect academic study toward everyday lived experience. The fifteen essays in this volume demonstrate the way in which phenomenological approaches can illuminate popular culture studies, and in so doing they take on the entire range of popular culture.
The Museum on the Roof of the World
For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful account of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that h...
Song of Spider-Man
“One of the best literary works of this year” (Miami Herald-Tribune): The true story of a theatrical dream—or nightmare—come true…the making of the Spider-Man musical. As you might imagine, writing a Broadway musical has its challenges. But it turns out there are challenges one can’t begin to imagine when collaborating with two rock legends and a superstar director to stage the biggest, most expensive production in theater history. Renowned director Julie Taymor picked playwright Glen Berger to cowrite the book for a $25 million Spider-Man musical. Together—along with U2’s Bono and Edge—they would shape a work that was technically daring and emotionally profound, with a sto...
Global Pop, Local Language
Why would a punk band popular only in Indonesia cut songs in no other language than English? If you're rapping in Tanzania and Malawi, where hip hop has a growing audience, what do you rhyme in? Swahili? Chichewa? English? Some combination of these? Global Pop, Local Language examines how performers and audiences from a wide range of cultures deal with the issue of language choice and dialect in popular music. Related issues confront performers of Latin music in the U.S., drum and bass MCs in Toronto, and rappers, rockers, and traditional folk singers from England and Ireland to France, Germany, Belarus, Nepal, China, New Zealand, Hawaii, and beyond. For pop musicians, this issue brings up a...
