Ulteriori informazioni
Sommario
List of Figures
List of Tables
Notes on Contributors
Acknowledgments
1. Introduction: Rock Music’s Emergence, Censorship and Perceived Death (Paul Carr, University of South Wales, UK, and Allan Moore, University of Surrey, UK)
PREFATORY
2. Rock Historiography: Music, Artists, Perspectives, and Value (John Covach, University of Rochester, USA)
3. Serious Writing About Rock (Sarah Hill, Cardiff University, UK)
4. The Definition of ‘Rock’ and Stylistic Overlaps (Taylor Myers, Rutgers University, USA, and Brad Osborn,University of Kansas, USA)
PART I. PRACTICE, ANALYSIS AND RECORDING
5. Rock Voice (Katherine Meizel, Bowling Green State University, USA)
6. The Rock Instrumentarium (Steve Waksman, Smith College, USA)
7. Analyzing and Interpreting Song Forms (Ralf von Appen, University of Music and Performing Arts, Austria)
8. Convention and Invention in Harmonic and Melodic Theories for Rock Music (Brett Clement, Ball State University, USA)
9. Rhythmic and Metric Theorization in Rock Music (Nicole Biamonte, McGill University, Canada)
10. Computational Musicology in Rock (Trevor de Clercq, Middle Tennessee State University, USA)
11. Function and Construction of Rock Lyrics (Dai Griffiths, Oxford Brookes University, UK)
12. Rock Music Engineering and Production (Samantha Bennett, Australian National University, Australia)
13. Sonic Space and Texture in Rock (Olivier Julien, Sorbonne University, France)
PART II. ROCK THEORIES
14. Authenticity, Creativity, Originality (Theodore Gracyk, Minnesota State University Moorhead, USA)
15. Categorization: Genre, Style, Idiolect, and Beyond (Nick Braae, Waikato Institute of Technology, New Zealand)
16. Personas in Rock: ‘We Will, We Will Rock You’ (Stan Hawkins, University of Oslo and the University of Agder, Norway)
17. Rock Hermeneutics (Katherine Reed, California State University Fullerton, USA)
18. Narrativity in Rock (Alexander C. Harden, Independent Scholar, UK)
19. Sliding Scales and Slippery Slopes: Representations of Autonomy and Mediation in the ‘Radial Mainstream’ of UK-Based Pop/Rock(Damon Minchella, University of South Wales, UK)
PART III. ROCK ENVIRONMENTS
20. Studio Practice and Organization In Rock Music (Simon Zagorski-Thomas, London College of Music, UK)
21. Rock Music Pedagogy in the UK and US: Ignorance or Elitism? (Paul Carr, University of South Wales, UK)
22. The Rock Press (Paula Hearsum, University of Brighton, UK, and Martin James, Solent University, UK)
23. Rock and Time-Based Visual Media (Laura Niebling, University of Regensburg, Germany)
24. Rock in Time-Based Events (Andrew Blake, University of the Arts London, UK)
25. Rock Live Performance (Sergio Pisfil, Sorbonne Université, France)
26. Marketing and Commodification of Rock (Roy Shuker, Victoria University of Wellington, New Zealand)
PART IV. SOCIAL AND CULTURAL ISSUES
27. Rock, Popular Culture and Power: Politics and Policy (Shane Homan, Monash University, Australia)
28. Understanding Gender and Sexuality in Rock Music (Lori Burns, University of Ottawa, Canada)
29. Race and Racialism in Rock (Jon Stratton, University of South Australia, Australia)
30. In the World: Beyond the English-Speaking West (Motti Regev, Open University of Israel, Israel)
31. Global Rock as Postcolonial Soundtrack (Jeremy Wallach, Bowling Green State University, USA)
32. Rock Music and Place (Geoff Stahl, Victoria University of Wellington, New Zealand)
33. Fans and Consumption (Mark Duffett, University of Chester, UK)
Bibliography page
Indexpage
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Allan Moore is Professor of Popular Music and Head of the Department of Music and Sound Recording at the University of Surrey, UK.Paul Carr is Professor Emeritus in Popular Music Analysis at the University of South Wales, UK. His research interests focus on musicology, the music industry and pedagogical frameworks for music related education. His most recent publications include co-editing The Bloomsbury Handbook of Rock Music Research (2020), an economic assessment of the Welsh Music Industry (2022) and editorship of a special double edition of the Journal of World Popular Music on the impacts of Covid-19 (2022). He is also an experienced performing musician, having toured and recorded with artists as diverse as The James Taylor Quartet and ex-Miles Davis saxophonist Bob Berg.
