• 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.

World Music
World music

Cultural imperialism follows popular music as melody follows rhythm. Local music can survive in an industry dominated by particular genres and nations, but there are often costs to pay for this sonic exposure. Protectionism by grants, funding or governmental policies can ensure that radio and television play a percentage of music from the home nation's performers. It is a conservative strategy to demand that 10, 20 or 30 per cent of music should be presented in a particular language or by a group of people maintaining a particular nationality. The goal of such media policy is understandable: to create a chance for local musicians to develop a career outside the interests of a few record companies based in the United States and ...

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