• Summary
  • Contents
  • Subject index

This is the first textbook on Pop Music to be written after the start of the iPod era. The book is organized in accessible sections which cover the main themes of research and teaching. It examines the key approaches to understanding popular music, the main settings of exchange and consumption, the role of technology in the production of popular music, the main genres of popular music, and the key debates of the present day.Barbazon writes with verve and penetration. Her approach starts with how most people actually consume music today and transfers this onto the plain of study. The organization of the material enables teachers and students to shuffle from one topic to the next. Yet the book provides an unparalleled network to the core library of concepts and issues in the field. As such, it is the perfect study guide for undergraduates located in this exciting and expanding field.

Soundtracks and Filmic Spaces
Soundtracks and filmic spaces

Sound and vision – hearing and seeing – activate distinct modes of communication. The movement between visual and sonic media has a major effect on both viewers and listeners. Similarly, the film and popular music industries are distinct, requiring varying professional production techniques, diverse marketing strategies and academic skills to decode and interpret. There are increasing and productive relationships between these industries and media. New audiences and new literacies emerge when linking media. There is a precedent for such a confluence. Film music has been important since Al Jolson crooned ‘Mammy’ in The Jazz Singer. Musicals from the height of the golden age of Hollywood, featuring such performers as Judy Garland, Mickey Rooney and Fred Astaire, propelled the ...

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