• 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.


After exploring the world of guitars, drums, keyboards and turntablism, it may seem odd for the iPod to conclude a section on instrumentation. As a platform for music, a player and recorder, uploader and downloader, it has transformed how music is heard, viewed, copied, remixed, sold and recorded. It is an instrument of and for change. The first iPod released with the touch wheel also featured a microphone slot for recording. While university lectures and amateur podcasts dominated these early recording opportunities, subsequent iPod accessories included a PA system, mixer and DJ desk, which had slots for two iPods. The player of music becomes the platform for recording music. It has been used for spoken word applications and audio books, with museums and galleries ...

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