دانلود کتاب Pop Music and Easy Listening

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Cover
Half Title
Title
Copyright
Contents
Acknowledgements
Series Preface
Introduction
PART I AESTHETICS AND AUTHENTICITY
1 Joseph Aimer (2003), \'\"Sing it for Me\": Posthuman Ventriloquism in Recent Popular Music\', Journal of the Royal Mimical Association., 128, pp. 98-122.
2 Simon Frith (1986), \'Art versus Technology: The Strange Case of Popular Music\'. Media, Culture & Society 8, pp. 263-79.
3 Simon Frith and Jon Savage (1993), \'Pearls and Swine: The Intellectuals and the Mass Media\'. New Left Review, 198. pp. 107-16.
4 Stan Hawkins and John Richardson (2007), \"Remodeling Britney Spears: Matters of Intoxication and Mediation\', Popular Music and Society, 30, pp. 605-29.
5 Antoine Hen η ion (1983), \'The Production of Success: An Anti-Musicology of the Pop Song*. Popular Music, 3, pp. 159-93.
6 Leslie Μ. Meier (2008), Ίη Excess? Body Genres, \"Bad\" Music, and the Judgment of Audiences\', Journal of Popular Music Studies, 20, pp. 240-60.
7 Robert Toft (2010). \'Hits and Misses: Crafting a Pop Single for the Top-40 Market in the 1960s\', Popular Music, 29, pp. 267-81.
PART II GROOVE, SAMPLING AND PRODUCTION
8 Albert Auster (1999), \'Frank Sinatra: The Television Years - 1950-1960\', Journal of Popular Film & Television, 26, pp. 166—74 1159-671.
9 Anne Danielsen and Arnt Maasø (2009), \'Mediating Music: Materiality and Silence in Madonna\'s \"Don\'t Tell Me\'\", Popular Music, 28, pp. 127—42.
10 Andrew Goodwin (1988), \'Sample and Hold: Pop Music in the Digital Age of Reproduction\', Critical Quarterly, 30, pp. 34-49.
11 Mark Hustwitt (1983), \'\"Caught in a Whirlpool of Aching Sound\": The Production of Dance Music in Britain in the 1920s\', Popular Music, 3, pp. 7-31.
12 Dafna Lemish (2003), \'Spice World: Constructing Femininity the Popular Way\', Popular Music and Societv, 26, pp. 17—29.
13 Lawrence Μ. Zbikowski (2004), \'Modelling the Groove: Conceptual Structure and Popular Music\', Journal of the Royal Musical Association, 129, pp. 272-97.
PART III SUBJECTIVITY, ETHNICITY AND POLITIC
14 Barbara Bradby (1992), \'Like a Virgin-Mother? Materialism and Maternalism in the Songs of Madonna\', Cultural Studies, 6, pp. 73-96.
15 Dale Chapman (2008), \"\'That Ill, Tight Sound\": Telepresence and Biopohtics in Post-Timbaland Rap Production\', Journal of the Society for American Music, 2, pp. 155-75.
16 Eric F. Clarke and Nicola Dibben (2000), \'Sex, Pulp and Critique\", Popular Music, 19, dd, 231-41.
17 Martin Cloonan (1999), \'Pop and the Nation-State: Towards a Theorisation\', Popular Music, 18, pp. 193-207.
18 Kay Dickinson (2001), \'Believe\'? Vocoders, Digitalised Female Identity and Camp, Popular Music, 20, pp. 333-47.
19 Susan Fast and Karen Pegley (2006), \'Music and Canadian Nationhood Post 9/11: An Analysis of Music Without Borders: Live\', Journal of Popular Music Studies, 18. pp. 18-39.
20 Jon Fitzgerald (2007), \'Black Pop Songwriting 1963-1966: An Analysis of U.S. Top Forty Flits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland\', Black Music Research Journal, 27, pp. 97-140.
21 Ken McLeod (2006), \"Ά Fifth of Beethoven\": Disco, Classical Music, and the Politics of Inclusion\', American Music, 24, pp. 347-63.
22 John Richardson (2005), \'\"The Digital Won\'t Let Me Go\": Constructions of the Virtual and the Real in Gorillaz\' \"Clint Eastwood\"\', Journal of Popular Music Studies, 17, pp. 1-29.
23 David Sanjek (1999), \'Navigating the \"Channel\": Recent Scholarship on African-American Popular Music\', Journal of Popular Music Studies, 11, pp. 167-92.
24 Robert Walser (1994), \'Prince as Queer Poststmcturalist\". Popular Music and Society, 18, pp. 79-89.
Name Index