Details

Pop-Rock Music

Aesthetic Cosmopolitanism in Late Modernity
1. Aufl.

von: Motti Regev
18,99 €
Verlag:	Wiley
Format:	PDF
Veröffentl.:	14.10.2013
ISBN/EAN:	9780745678801
Sprache:	englisch
Anzahl Seiten:	224

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Beschreibungen

Titelbeschreibung

Pop music and rock music are often treated as separate genres but the distinction has always been blurred. Motti Regev argues that pop-rock is best understood as a single musical form defined by the use of electric and electronic instruments, amplification and related techniques. The history of pop-rock extends from the emergence of rock'n'roll in the 1950s to a variety of contemporary fashions and trends – rock, punk, soul, funk, techno, hip hop, indie, metal, pop and many more. This book offers a highly original account of the emergence of pop-rock music as a global phenomenon in which Anglo-American and many other national and ethnic variants interact in complex ways. Pop-rock is analysed as a prime instance of 'aesthetic cosmopolitanism' – that is, the gradual formation, in late modernity, of world culture as a single interconnected entity in which different social groupings around the world increasingly share common ground in their aesthetic perceptions, expressive forms and cultural practices. Drawing on a wide array of examples, this path-breaking book will be of great interest to students and scholars in cultural sociology, media and cultural studies as well as the study of popular music.

Inhaltsverzeichnis

Preface vii 1 Theories and Concepts 1 Aesthetic Cosmopolitanism: A Theoretical Framework 4 Characterizing Aesthetic Cosmopolitanism 6 Theoretical Framework 9 Rock, Pop, and Popular Music 17 Structure of the Book 23 Methodological Note 26 2 Expressive Isomorphism 28 Pop-Rock Styles and Genres 32 Pop-Rock Divas 33 Rock Auteurs 35 Progressive Rock 37 Punk and Metal 38 Electronic Dance Music 40 Hip-Hop 41 Ethnic Rock/New Folk 43 Dominance of the Musical Public Sphere 46 Legitimation Discourse 50 Ritual Classification: Tradition vs. Pop-Rock 52 Ritual Periodization: The “Birth of Rock” 54 3 A Field of Cultural Production 57 Working of the Field 59 Production of Meaning 61 Pop-Rock’s Ideology of Art 65 Mechanisms of Change and Innovation 75 Avant-Gardism 76 Commercialism 78 The Spiral of Expansion 80 Structure of the Field 83 National (Sub-) Fields of Pop-Rock Music 87 4 Long-Term Event of Pop-Rockization 91 Events 93 The Musical Event 95 The Historical Musical Event of Pop-Rock 96 Agency 97 Early “Pre-History” 106 Consecrated Beginning 108 Consolidation and Rise to Dominance 113 Diversification, Internationalization, Glorification 117 5 Aesthetic Cultures 123 Subcultural Scenes to Aesthetic Cultures 126 Aesthetic Cultures 129 Forms of Pop-Rock Knowledge 131 Early Participation 133 Global Microstructures 136 Internet Platforms 138 The Pop-Rock Intelligentsia 142 Indie/Alternative Pop-Rock 142 Alternative Pop-Rock on the Web 146 An Extended Case: Israeli Cognoscenti 148 6 Sonic Vocabularies, Spaces, and Bodies 158 Sonic Vocabularies 161 Tones and Timbres 162 Museme Stacks and Strings 165 Global Electro-Amplified Soundscapes 168 Aesthetic Cosmopolitan Bodies 172 Actants of Intercultural Phenomenological Proximity 177 References 180 Index 195

Rezension

"Spirited, thought-provoking and replete with original perspectives that use music as a prism for understanding cultural politics and cross-border impact on traditional art forms." The Hindu "A very fine piece of work, which makes an original contribution both to our understanding of popular music and to our understanding of the global cultural order. It provides a new perspective on how sounds are produced, circulated and experienced." John Street, University of East Anglia "In this highly original book, Professor Regev considers how exploring pop-rock both taps and enriches sociological theory. Regev?s study is both empirically nuanced and theoretically sophisticated. It illuminates music as a fundamental and dynamic material of social life. As Regev shows, pop-rock?s emergence is nothing less than the re-figuration of world culture." Tia DeNora, Exeter University "Motti Regev expertly provides a much needed take on pop-rock, the field(s) in which it is produced and enjoyed, and its global diffusion. He uses the case of pop-rock to cast empirical light on aesthetic cosmopolitanism and artistic legitimation. The result is a book that is highly informative and refreshingly engaging." Professor Timothy Dowd, Emory University "This is an exceedingly important book. It really does move the fields of music and sociology on by showing how the figurative musical world we live in today is literally a musical world." Journal of World Popular Music

Autorenportrait

Motti Regev is professor of sociology at The Open University of Israel where he works on the sociology of culture and art and popular music studies.

Back cover copy

“This is a very fine piece of work, which makes an original contribution both to our understanding of popular music and to our understanding of the global cultural order. It provides a new perspective on how sounds are produced, circulated, and experienced.” John Street, University of East Anglia “In this highly original book, Professor Regev considers how exploring pop-rock both taps and enriches sociological theory Regev’s study is both empirically nuanced and theoretically sophisticated. It illuminates music as a fundamental and dynamic material of social life. As Regev shows, pop-rock’s emergence is nothing less than the re-figuration of world culture.” Tia Denora, Exeter University “Motti Regev expertly provides a much needed take on pop-rock, the field(s) in which it is produced and enjoyed, and it’s global diffusion. He uses the case of pop-rock to cast empirical light on aesthetic cosmopolitanism and artistic legitimation. The result is a book that is highly informative and refreshingly engaging.” Timothy Dowd, Emory University Pop music and rock music are often treated as separate genres, but the distinction has always been blurred. Motti Regev argues that pop-rock is best understood as a single musical form defined by the use of electronic and electronic instruments, amplification, and related techniques. The history of pop-rock extends from the emergence of rock’n’roll in the 1950s to a variety of contemporary fashions and trends – rock, punk, soul, funk, techno, hip hop, indie, metal, pop, and many more. This book offers a highly original account of the emergence of pop-rock music as a global phenomenon, in which Anglo-American and many other national and ethnic variants interact in complex ways. Pop-rock is analyzed as a prime instance of “aesthetic cosmopolitanism” – that is, the gradual formation, in late modernity, of world culture as a single interconnected entity, in which different social groupings around the world increasingly share common ground in their aesthetic perceptions, expressive forms, and cultural practices. Drawing on a wide array of examples, this path-breaking book will be of great interest to students and scholars in cultural sociology, media and cultural studies, as well as the study of popular music.