• 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.

Censorship and Regulation
Censorship and regulation

Most studies of popular culture play with categories of difference, deviance, subculture and resistance. A great area of neglect is the relationship between music and law, music and the market, and music and the state. Although Holly Kruse has suggested that this absence is particularly noteworthy in American popular music studies (1998: 187), it is widespread throughout the field.

Law regulates and disciplines popular culture. It creates criteria and boundaries by which popular culture are judged. There is what Steve Redhead describes as ‘the fertile deconstructed terrain where legal theory, deviance and cultural studies collide’ (1995: 100). Because much popular music has been targeted at a youthful audience, the sexual and violent content in lyrics has been the focus of conservative ...

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