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Informationen zum Autor 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. Klappentext 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. Zusammenfassung 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. 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<...
