CMNS 321: The Cultural Production of Popular Music

… Studies Association Conference (APSA)(Adelaide, 29 …, 2004

21st Century Sociology: A Reference Handbook (Volume 2), 2007

The sociology of music has enjoyed a notable boom during the final decade of the twentieth century and the early years of the twenty-first century. This is partly evident in the rising number of publications that address music in some capacity, be it the creation, dissemination, or reception of various musical genres. In this chapter, offer an overview that attends to the three domains of production, content, and consumption. These domains represent analytical stinctions that may blur in both sociological scholarship and contemporary experience. Nevertheless, distinguishing among these domains provides a convenient way to organize the vast works known as music sociology. To employ a musical metaphor, this chapter surveys substantive themes and variations that occur when sociologists turn to music.

2016

World Music is often analysed as an interlinked series of music genres that can be specified from an ethnomusicological perspective. But in its contemporary form it is also part of a cultural economy, a sub-set of the global music industry. The purpose of this chapter is to provide a sketch of the main features of the global macro-economy of music followed by comments on the World Music “genre-market ” and its relation to the macro-economy. The chapter has four sections. It begins with a definition of the music industry worldwide. This is followed by a summary of the key financial data of the industry and an estimate of the royalty flows of the music industry between global regions. The third section deals with the corporate structures of the industry. The final section considers the main characteristics of World Music as a cultural industry. Definition of the Music Industry Worldwide The past twenty years has seen a growing interest by national governments in the potential economic...

Contemporary Popular Music Studies: Proceedings of the International Association for the Study of Popular Music 2017, red. Marija Dumnić Viltijević, Ivana Medić. Wiesbaden: Springer, 2019

In this paper, I argue that the implicit or explicit dependence on hegemony theory within popular music studies has resulted in diminishing the relevance of the aural dimension of culture and neglecting a wider consideration of the political effects of sound. Instead, I advocate a turn towards posthegemonic theory which employs vocabularies of "affect," habit," and multitude" to account for the physical effects of sonic intensities without trying to collapse them into meanings. Offering a brief analysis of two contrasting examples of popular music practices in a corporate environment-company song and lip dub-I demonstrate how posthegemonic approach might extend the analytical capacities of popular music studies by providing ways of thinking and doing politics that are not dependent on establishing consent or exercising coercion, but rather on immanent processes that are activated and reproduced beneath consciousness.

Welcome to the module. The aim of this module is to provide students with an understanding of popular culture, music, and art within a global context. This course explores contemporary social and cultural issues through the lens of music, arts and popular culture. It aims to develop students' confidence to assess a broad range of arguments by moving from the descriptive to the analytical. Students should learn that the search for single explanations reduces the complexity of social phenomena and how we understand them.

The legacy of Larry Gross: Media, culture, and inequality (P. Messaris & D. Park, Eds.)

Musicians have always “borrowed” from one another, from Bach to Bizet to Biz Markie. Copying is an essential element of musicking, and, by the same token, we can understand historical constraints on these practices as attempts to impose thing- ness upon music by institutional interests with commercial, technological or sociopolitical agendas. Yet the story is more than a Manichean battle between the forces of musical liberation and repression; rather, the push-and-pull between regulation and resistance is itself an engine of innovation. Without the looming threat of copyright infringement, would Western composers have invested as fully in Orientalism? Without the cartelization of sampling permissions, would hip-hop’s underground, and the “mixtape culture” that characterizes it, have grown as influential or as prevalent? In short, the shape of our musical culture today is the result of centuries of battles, negotiations, and accommodations, an elaborate and ongoing dance between the thing- ifying pressures of markets, technologies and ideologies on one side, and the human drive to music on the other.

IASPM@Journal, 2016

The Capitalist Imaginaries of Popular Music, 2024

Traditionally, popular music has been said to contest, resist, and defy the powers that be. In this new book, I challenge this long-standing orthodoxy. I argue that popular music participates in the social reproduction of the biggest power there is: capitalism. I argue that this is done mainly through the widespread mediation of a very particular and remarkably cohesive ideology of greatness and value. This ideology is drawn from principles and prescriptions that have long been constitutive of neoliberal capitalism.

Ph. D. dissertation defended at the University of Huddersfield, U.K. A commentary on my publications on 1) Music and Society in Italy; 2) A psychoanalytical interpretation on myths on the origins of music, and the minimalist turn of the 1980s; 3) Bob Dylan and American culture; 4) Italian singer-songwriters; 5) Popular music as a planetary experiment.

Popular Music and Society, 2017

Contemporary Popular Music Studies: Proceedings of the International Association for the Study of Popular Music 2017, 2019

This is the second volume in the series that documents the 19th edition of the biennial conference of the International Association for the Study of Popular Music. The volume contains contributions on the variety of musical genres from all over the world. Authors engage with the role of popular music in contemporary music education, as well as definitions and conceptualizations of the notion of ‘popular’ in different contexts. Other issues discussed in this volume include methodologies, the structure and interpretations of popular music scenes, genres and repertoires, approaches to education in this area, popular music studies outside the Anglophone world, as well as examinations of discursive and technological aspects of numerous popular music phenomena.

Symbolic Interaction, 2006

Sociology Compass, 2009

Journal of Sociology, 2008

An immediate problem facing anyone committed to the task of mapping out a conceptual territory for cultural sociology in the field of popular music studies is where to begin. Part of the issue here relates to popular music studies' status as a field of academic study already overlain with a rich diversity of disciplinary approaches.