Bøger i Pop Music, Culture and Identity serien

Rap Music and the Youth in Malawi is one of the first book-length studies of Malawian hip hop. It studies the language and content of contemporary Malawian hip hop as a window onto the country's youth culture as Malawian young people negotiate what scholar Alcinda Honwana calls 'waithood,' or the condition, common among Malawian youth, of lacking opportunities to advance from a situation of dependence and being stuck in a state of relative childhood. The book argues that rap music made by Malawian youth music speaks of - and represents, through its very agency - their need to break out of this stagnant state. After situating Malawian hip hop with respect to both other musical genres in the country and to the nation's language in culture, Rap Music and the Youth in Malawi shows how Malawian youth use rap music to create a sense of community, which then becomes a foothold from which they can do activities that get them out of waithood and into the adult world, such as getting involved in the music industry, realizing electoral power, or participating in activism about issues such as violence against people with albinism and the COVID-19 pandemic. Hip hop has been a crucial tool for Malawian youth to build the skills, identity, and agency necessary to exercise their economic, cultural, and civic independence.

This edited collection delves into the industrial music genre, exploring the importance of music in (sub)cultural identity formation, and the impact of technology on the production of music.

The first section provides a critical overview of theories addressing popular music and digital technology, while the second section offers an analysis of the relationship between musical cultures, taste, constructions of authenticity, and technology.

This volume explores the notion of "affective media" within and across different arts in Japan, with a primary focus on music, whether as standalone product or connected to other genres such as theatre and photography.

On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks.

This book is a celebration and explication of the body in the world and the ways that our body situates our consciousness as a lived formation, one which is oriented by the experience of music listening. Finally, the book looks at music itself as a kind of technology that generates new modes of bodily being.

This book makes a case for the synergetic union between reality TV and the music industry. It delves into technological change in popular music, and the role of music reality TV and social media in the pop production process. It challenges the current scholarship which does not adequately distinguish the economic significance of these developments.

The first section provides a critical overview of theories addressing popular music and digital technology, while the second section offers an analysis of the relationship between musical cultures, taste, constructions of authenticity, and technology.

This book uncovers how music experience-live and recorded-is changing along with the use of digital technology in the 2000s. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience.

Music, magic and myth are elements essential to the identities of New Orleans musicians. and membership in the city's musical community entails participation in the myth of New Orleans, breathing new life into its storied traditions.

By exploring what is political, this book brings light to a vibrant and varied rap scene diverse in its political discourses-with an emphasis on patriotism and postcolonial national identity-and uncovers different ways in which young artists are being political beyond 'radical lyrics'.

Kurt Cobain and Ian Curtis. Through death, they became icons. However, the lead singers have been removed from their humanity, replaced by easily replicated and distributed commodities bearing their image. This book examines how the anglicised singers provide secular guidance to the modern consumer in an ever more uncertain world.

An ethnographic study of gender, place and belonging, Affective Intensities introduces readers to the embodied sensations, flows and experiences of being in extreme music scenes in Australia and Japan.

New Wave: Image is Everything traces the evolution of the often neglected pop music genre, new wave. Using artists from Elvis Costello to Cyndi Lauper as illustrations, the book argues that new wave was among the first flowerings of postmodern theory in popular culture.

This book explores the significance of reggae and hip hop in Southern Italy from the beginning of the 1980s to the present.

Why do rap MCs present their studio recorded lyrics as ¿live and direct¿? Why do they so insistently define abilities or actions, theirs or someone else¿s, against a pre-existing signifier? This book examines the compositional practice of rap lyricists and offers compelling answers to these questions. Through a 40 year-span analysis of the music, it argues that whether through the privileging of chanted call-and-response phrases or through rhetorical strategies meant to assist in getting one¿s listening audience open, the focus of the first rap MCs on community building and successful performer-audience cooperation has remained prevalent on rap records with lyrics and production techniques encouraging the listener to become physically and emotionally involved in recorded performances. Relating rap¿s rhetorical strategy of posing inferences through intertextuality to early call-and-response routines and crowd-controlling techniques, this study emphasizes how the dynamic and collective elements from the stage performances and battles of the formative years of rap have remained relevant in the creative process behind this music. It contends that the customary use of identifiable references and similes by rap lyricists works as a fluid interchange designed to keep the listener involved in the performance. Like call-and-response in live performances, it involves a dynamic form of communication and places MCs in a position where they activate the shared knowledge of their audience, making sure that they ¿know what they mean,¿ thus transforming their mediated lyrics into a collective and engaging performance.

The night and popular music have long served to energise one another, such that they appear inextricably bound together as trope and topos. Nocturnes: Popular Music and the Night is one of the first volumes to examine the relationship between night and popular music.

On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks.

Literature scholars apply textual and cultural analysis to a selection of Anglo-Canadian music - from Joni Mitchell to Peaches, via such artists as Neil Young, Rush, and the Tragically Hip - to explore the generic borrowings and social criticism, the desires and failures of Canada's musical relationship with the USA.

By conducting original research, including interviews and examining archival material, the authors take issue with certain assumptions prevailing in the existing studies on popular music in Eastern Europe, namely that it was largely based on imitation of western music and that this music had a distinctly anti-communist flavour.

This book explores the significance of reggae and hip hop in Southern Italy from the beginning of the 1980s to the present.

In the 1960s, as gentrification took hold of New York City, Jane Jacobs predicted that the city would become the true player in the global system. Based on case studies of Melbourne, Austin and Berlin, this book is the first in-depth study to combine academic and industry analysis of the music cities phenomenon.

This collection presents a range of essays on contemporary music distribution and consumption patterns and practices. The contributors to the collection use a variety of theoretical and methodological approaches, discussing the consequences and effects of the digital distribution of music as it is manifested in specific cultural contexts.The widespread circulation of music in digital form has far-reaching consequences: not least for how we understand the practices of sourcing and consuming music, the political economy of the music industries, and the relationships between format and aesthetics. Through close empirical engagement with a variety of contexts and analytical frames, the contributors to this collection demonstrate that the changes associated with networked music are always situationally specific, sometimes contentious, and often unexpected in their implications. With chapters covering topics such as the business models of streaming audio, policy and professional discourses around the changing digital music market, the creative affordances of format and circulation, and local practices of accessing and engaging with music in a range of distinct cultural contexts, the book presents an overview of the themes, topics and approaches found in current social and cultural research on the relations between music and digital technology.

This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry.

Literature scholars apply textual and cultural analysis to a selection of Anglo-Canadian music - from Joni Mitchell to Peaches, via such artists as Neil Young, Rush, and the Tragically Hip - to explore the generic borrowings and social criticism, the desires and failures of Canada's musical relationship with the USA.

By conducting original research, including interviews and examining archival material, the authors take issue with certain assumptions prevailing in the existing studies on popular music in Eastern Europe, namely that it was largely based on imitation of western music and that this music had a distinctly anti-communist flavour.