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Zusatztext The Bloomsbury Handbook of Popular Music and Social Class contains a great number of insightful case studies that open up a variety of perspectives on the topic. In this way, it is bound to inspire future research, including historical studies. Informationen zum Autor Ian Peddie is Professor of English at Sul Ross State University, USA. He is the author of Music and Protest (2012), Popular Music and Human Rights Volumes I and II (2011), and editor of The Resisting Muse: Popular Music and Social Protest (2006). Inhaltsverzeichnis List of Illustrations Notes on Contributors Acknowledgments Introduction Part I: Methodologies 1. Music, Class, and Taste. Being In-Between: Popular Music and Middlebrow Tastes (Morten Michelsen, Aarhus University, Denmark) 2. Music, Class, and Consumption/Reception. The Impact of Social Class on Parental Responses to Popular Music in Britain, c.1955-1975 (Gillian A. M. Mitchell, St Andrews, Scotland) 3. Music, Class, and Production. Social Class and the Negotiation of Selling Out in a Southern California Indie Rock Scene (Timothy D. Taylor, University of California Los Angeles, USA) 4. Music, Class, and Status. It's Up to You: Class, Status, and Punk Politics in Rock against Racism (Rebecca Binns, Independent Scholar, UK) 5. Music, Class, and Education. Hegemony, Symbolic Violence, and Popular Music Education: A Matter of Class (Alison Butler and Ruth Wright, Western University, Canada) 6. Music, Class, and Digitization. “Every Noise at Once”: Online Music Discovery Maps and Cosmopolitan Subjectivities (Matthew Ord, Newcastle University, UK) 7. Music, Class, and Globalization. Art at the Cutting Edge: Class, Cultures, and Globalization in African and Middle Eastern World Music (Mark LeVine, University of California Irvine, USA) 8. Music, Class, and Censorship. Popular Music, Class, and Censorship in the PRC (Hon-Lun Yang, Hong Kong Baptist Univesity, Hong Kong) Part II: Theoretical Approaches 9. Music, Class, and Gender. Gaahl—Monster or Postmodern Prometheus?: Masculinity, Class, and Norwegian Black Metal (Stan Hawkins and Nina Nielsen, University of Oslo, Oslo) 10. Music, Class, and Sexuality. Women’s Music, #20GAYTEEN, and Lesbian Hip-Hop: Shifting Voices of Class, Race, and Sexuality in WSW’s Popular Musics (Kirsten Zemke, University of Aukland, New Zealand) 11. Music, Class, and Race. “I Dream It, I Work Hard”: Race, Class, and Labor in US Popular Music (Rachel Rubin and James Smethurst, University of Massachusetts, USA) 12. Music, Class, and, Religion. Class, Religion, and Music: Concepts and Questions (Sean McCloud, University of North Carolina, USA) 13. Music, Class, and Protest. Hard Hats and Hoodies: The Songs of Two Working-Class British Protest Singers (Aileen Dillane and Martin J. Power, University of Limerick, Ireland) 14. Music, Class, and Violence. Brothers in Rock: Argentine and British Rock Music during the Malvinas/Falklands War (Mara Favoretto, Unversity of Melbourne, Australia) 15. Music, Class, and Revolution. "Dances for the Masses": Revolution, Class, Proletarian Music, and Dance in Cold-War Ukraine (Sergei I. Zhuk, Ball State University, USA) Part III: Genres 16. Music, Class, and Jazz. LeRoi Jones, Jazz, and the Resonance of Class (Bruce Barnhart, University of Oslo, Norway) 17. Music, Class, and The Blues. The Blues and the Development of the African American Working Class before World War II (Roberta Freund Schwartz, University of Kansas, USA) 18. Music, Class, and Country. "Lord Have Mercy on the Working Man": Country Music, Respect(ability), and Social Class (Travis D. Stimeling, West Virginia University, USA) 19. Music, Class, and Folk. The Long March to the Top of the Social Ladder: Neo-Folk Music in Social...
