• 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.


The 1980s featured two ‘immoral’ – or dangerous – musics: heavy metal and rap. Both were marketed to young men. The Parents' Music Resource Centre responded to the ‘obscenity’ of the language, extreme fashion, big hair and supposed sexism of these genres. In the case of metal it had it origins in the late 1960s and early 1970s, emerging from the fragmentation of blues-infused rock music. While some performers moved to country or psychedelic rock, reducing the volume and tempo, other bands lifted the amplification and distortion, reconfigured the relationship between guitars and drums and increased the speed and length of guitar solos. The criticisms directed at metal often ignore these roots in the blues. To create a folk (or more accurately metal) devil ...

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