• 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.

City Music and Urban Spaces
City music and urban spaces

Each city is distinct, shaped by different histories, industries, economic choices, topologies and immigration policies. Occasionally, these factors align to create a branded music industry. This emerged in San Francisco during Haight-Ashbury's ‘summer of love’ in 1967 (Hoskyns, 1997). Music is a way to mark a city as distinct. The relationship between geography and sound is taken for granted, but music is linked with particular places. Seattle and Liverpool are each recognized as a hub and home for their music and musicians. Creative industries' strategies and policies build on or attempt to initiate such a sonic branding. Writers such as Richard Florida (2005), Charles Leadbeater (1999) and Kate Oakley (2004) research the role and function of ...

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