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.

Punk and Indie

Punk and indie

Both punk and indie were and are guitar-fuelled sounds. Both are flushed with ideologies of authenticity and creativity, building a tight relationship between fans and performers. Both respond to ‘commercial’ dance music, with punk agitating against disco and indie problematizing post-house derivatives. The key attribute amongst musicians claiming this label was not their technical or musical skill, but a do-it-yourself attitude. As with early rock, punk and indie encouraged young people to play music rather than simply listen to it. The difficulty with this was that both gained so much success with audiences that they became part of the mainstream music that they were resisting. The radicalism and resistance were tamed and profitably marketed. Both genres have remained well represented ...

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