• 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.

Writing about Music
Writing about music

In 1976, Frank Zappa made the often-repeated statement: ‘rock journalism is people who can't write, preparing stories based on interviews with people who can't talk, in order to amuse people who can't read’ (in Jones, 1994: 39). About the same time, Elvis Costello (supposedly) described ‘writing about music [is] … like dancing about architecture’ (‘Dancing about architecture’: 2002). If music is to survive beyond ephemeral chart success, the joy of an individual playlists or a crowd jumping together in a club, then it is writing that grants meaning, importance, relevance and the survival of sounds. There is as much bad writing about music as there is bad music. The key to improving pop writing is to think carefully about the ...

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