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This ten-chapter book explores how music and society are, and have been, intertwined and mutually influential. It examines the agents behind these connections: who determines musical cultures in society? Which social groups are represented in particular musical contexts? Which social groups are silenced or less well represented in music's histories, and why?.

Honorable Mention, 2019 Foreword INDIES Awards - Performing Arts & MusicHonorable Mention, Graphis 2021 Design Annual CompetitionPopular music has long been a powerful force for social change. Protest songs have served as anthems regarding war, racism, sexism, ecological destruction and so many other crucial issues. Music Is Power takes us on a guided tour through the past 100 years of politically-conscious music, from Pete Seeger and Woody Guthrie to Green Day and NWA. Covering a wide variety of genres, including reggae, country, metal, psychedelia, rap, punk, folk and soul, Brad Schreiber demonstrates how musicians can take a variety of approaches- angry rallying cries, mournful elegies to the victims of injustice, or even humorous mockeries of authority-to fight for a fairer world. While shining a spotlight on Phil Ochs, Gil Scott-Heron, The Dead Kennedys and other seminal, politicized artists, he also gives readers a new appreciation of classic acts such as Lesley Gore, James Brown, and Black Sabbath, who overcame limitations in their industry to create politically potent music Music Is Power tells fascinating stories about the origins and the impact of dozens of world-changing songs, while revealing political context and the personal challenges of legendary artists from Bob Dylan to Bob Marley.Supplemental material (Artist and Title List): https://d3tto5i5w9ogdd.cloudfront.net/wp-content/uploads/2020/07/24001955/Music_Is_Power_Supplementary_Artist_Title_List.doc 

From John Philip Sousa to Green Day, from Scott Joplin to Kanye West, from Stephen Foster to Coldplay, The Encyclopedia of Great Popular Song Recordings covers the vast scope of its subject with virtually unprecedented breadth and depth. Approximately 1,000 key song recordings from 1889 to the present are explored in full, unveiling the stories behind the songs, the recordings, the performers, and the songwriters. Beginning the journey in the era of Victorian parlor balladry, brass bands, and ragtime with the advent of the record industry, readers witness the birth of the blues and the dawn of jazz in the 1910s and the emergence of country music on record and the shift from acoustic to electrical recording in the 1920s. The odyssey continues through the Swing Era of the 1930s; rhythm & blues, bluegrass, and bebop in the 1940s; the rock & roll revolution of the 1950s; modern soul, the British invasion, and the folk-rock movement of the 1960s; and finally into the modern era through the musical streams of disco, punk, grunge, hip-hop, and contemporary dance-pop. Sullivan, however, also takes critical detours by extending the coverage to genres neglected in pop music histories, from ethnic and world music, the gospel recording of both black and white artists, and lesser-known traditional folk tunes that reach back hundreds of years. This book is ideal for anyone who truly loves popular music in all of its glorious variety, and anyone wishing to learn more about the roots of virtually all the music we hear today. Popular music fans, as well as scholars of recording history and technology and students of the intersections between music and cultural history will all find this book to be informative and interesting.

This book focuses on the culture and politics involved in building hip-hop archives. It addresses practical aspects, including methods of accumulation, curation, preservation, and digitization and critically analyzes institutional power, community engagement, urban economics, public access, and the ideological implications associated with hip-hop culture's enduring tensions with dominant social values. The collection of essays are divided into four sections; Doing the Knowledge, Challenging Archival Forms, Beyond the Nation and Institutional Alignments: Interviews and Reflections. The book covers a range of official, unofficial, DIY and community archives and collections and features chapters by scholar practitioners, educators and curators. A wide swath of hip-hop culture is featured in the book, including a focus on dance, graffiti, clothing, and battle rap. The range of authors and their topics span countries in Asia, Europe, the Caribbean and North America.

From ancient to contemporary times, music in the area known as Nigeria has passed through different stages of transmutation. Primarily transmitted through oral means has in the last century received significant scholarly attention. Areas like folksong documentation, ethno-organological studies, popular music studies and art music have continued to feature in scholarly discourse. Societal dynamism allows room for scholarly reassessment and evaluation of aspects of Nigerian music; thus, reflecting change and continuity in the area. It is within this cusp that this book looks at contemporary trajectories in Nigerian music. Contributors are Charles Aluede, Albert Oikelome, Yemi Akperi, Oghenemudiakevwe Igbi, John Aideloje Abolagba, 'Femi Adedeji, Samuel Ayodele Adegboyega, Emurobome Idolor, Opeyemi Adeyinka Asaolu, David Bolaji, Margaret Efurhievwe, Bruno Ekewenu, Sunday Ofuani, Enoh Okafor, Philo Igue Okpeki, Rotimi Peters Ologundudu, Edward Oluwagbemiga Olusegun, Bode Omojola, Peace Onyenye, Precious Omuku, Udoka Ossaiga, Akin Joseph Osunniyi, Isaac Udoh

What do we do when we listen? The act of engagement with music in everyday life may seem simple on the surface but participation, interpretation, circulation and cultural production in the digital age are more complex and entangled than ever before. It is especially so in Japan, with its vast multimedia idol and vocaloid industries. This unique ethnographic work at the intersection of cultural, media and music studies covers a wide spectrum of music-related activities embedded in the daily lives of two Japanese cohorts. The varied case studies, including teen idol groups and virtual idols, aid the detailed examination of the relation between music, generation, and society.

Why do some music styles gain mass popularity while others thrive in small niches?Banding Togetherexplores this question and reveals the attributes that together explain the growth of twentieth-century American popular music. Drawing on a vast array of examples from sixty musical styles--ranging from rap and bluegrass to death metal and South Texas polka, and including several created outside the United States--Jennifer Lena uncovers the shared grammar that allows us to understand the cultural language and evolution of popular music. What are the common economic, organizational, ideological, and aesthetic traits among contemporary genres? Do genres follow patterns in their development? Lena discovers four dominant forms--Avant-garde, Scene-based, Industry-based, and Traditionalist--and two dominant trajectories that describe how American pop music genres develop. Outside the United States there exists a fifth form: the Government-purposed genre, which she examines in the music of China, Serbia, Nigeria, and Chile. Offering a rare analysis of how music communities operate, she looks at the shared obstacles and opportunities creative people face and reveals the ways in which people collaborate around ideas, artworks, individuals, and organizations that support their work.

British Rock Modernism, 1967-1977 explains how the definitive British rock performers of this epoch aimed, not at the youthful rebellion for which they are legendary, but at a highly self-conscious project of commenting on the business in which they were engaged. They did so by ironically appropriating the traditional forms of Victorian music hall. Faulk focuses on the mid to late 1960s, when British rock bands who had already achieved commercial prominence began to aspire to aesthetic distinction. The book discusses recordings such as the Beatles' Magical Mystery Tour album, the Kinks' The Village Green Preservation Society, and the Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and television films such as the Beatles' Magical Mystery Tour and the Rolling Stones' Rock and Roll Circus that defined rock's early high art moment. Faulk argues that these 'texts' disclose the primary strategies by which British rock groups, mostly comprised of young working and lower middle-class men, made their bid for aesthetic merit by sampling music hall sounds. The result was a symbolically charged form whose main purpose was to unsettle the hierarchy that set traditional popular culture above the new medium. Rock groups engaged with the music of the past in order both to demonstrate the comparative vitality of the new form and signify rock's new art status, compared to earlier British pop music. The book historicizes punk rock as a later development of earlier British rock, rather than a rupture. Unlike earlier groups, the Sex Pistols did not appropriate music hall form in an ironic way, but the band and their manager Malcolm McLaren were obsessed with the meaning of the past for the present in a distinctly modernist fashion.

Classical Recording: A Practical Guide in the Decca Tradition is the authoritative guide to all aspects of recording acoustic classical music. Offering detailed descriptions, diagrams, and photographs of fundamental recording techniques such as the Decca Tree, this book offers a comprehensive overview of the essential skills involved in successfully producing a classical recording. Written by engineers with years of experience working for Decca and Abbey Road Studios and as freelancers, Classical Recording equips the student, the interested amateur, and the practising professional with the required knowledge and confidence to tackle everything from solo piano to opera.

This book is a record of the Black music culture that emerged in post-colonial London at the end of the twentieth century; the people who made it, the racial and spatial politics of its development and change, and the part it played in founding London's precious, embattled multiculture. It tells the story of the linked Black musical scenes of the city, from ska, reggae and soul in the 1970s, to rare groove and rave in the 1980s and jungle and its offshoots in the 1990s, to dubstep and grime of the 2000s. Melville argues that these demonstrate enough common features to be thought of as one musical culture, an Afro-diasporic continuum. Core to this idea is that this dance culture has been ignored in history and cultural theory and that it should be thought of as a powerful and internationally significant form of popular art.This book is a record of the Black music culture that emerged in post-colonial London at the end of the twentieth century; the people who made it, the racial and spatial politics of its development and change, and the part it played in founding London's precious, embattled multiculture. It tells the story of the linked Black musical scenes of the city, from ska, reggae and soul in the 1970s, to rare groove and rave in the 1980s and jungle and its offshoots in the 1990s, to dubstep and grime of the 2000s. Melville argues that these demonstrate enough common features to be thought of as one musical culture, an Afro-diasporic continuum. Core to this idea is that this dance culture has been ignored in history and cultural theory and that it should be thought of as a powerful and internationally significant form of popular art.