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.
Songs summon visuality. Story songs in particular use words and instruments to paint a visual picture and evoke imagination. Al Stewart's ‘The Year of the Cat’ (1976) paints a Casablanca-inflected exoticism, using saxophone, piano and the lyrical mention of Peter Lorre. Maximo Park's ‘Books from Boxes’ (2007) is anchored to a rain-swept day in the north of England and Sunderland's football ground, the Stadium of Light. Many songs evoke images, colours and sensations. Visuality and the visual media are woven through music, whether these involve seeing a busker perform on a street, watching a DJ in a club, the wash of music videos providing wallpaper for gyms or creating new relationships between sound and vision on an iPad.
Such saturated visuality offers a ...