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.
Popular music studies scholars deploy concepts like genre, audience, context and identity. Since 1997, after the arrival of the first Tony Blair government, new phrases like the creative economy, creative industries, copyright and intellectual property rights were summoned as the engine for economic stimulation and development. Popular music has gone from being a dynamic leisure practice of youth to a way to develop markets on diverse platforms to harvest intellectual property and copyright. Innovative soundscapes are interrupted, punctuated, controlled and restricted by law.
Intellectual property is a term derived from the law that refers to creative works including literary, artistic and musical formations. IP includes copyright, design, trademarks and patents and attempts to capture, monitor and market the bundling of ideas in a ...