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Volume I: Media, Industry and Society
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This volume contains two major sections: ‘Social and
Cultural Dimensions’ and ‘The Industry’. The former contains
many entries on social phenomena of relevance to the practise
of popular music : entries such as class, deviance, fashion,
gender and sexuality, love and courtship, politics, race,
religion, spirituality, and youth. It also includes entries
on three other sets of phenomena that provide contexts for
the practise of popular music: institutions and practises
that document popular music; the study of popular music; and
stylistic and textual practices that are not themselves musical
in nature. Thus, for example, this section covers disciplines
and trajectories (for example, poststructuralism) that have
contributed to research and publication on popular music.
The section on ‘The Industry’ contains numerous entries on
recording studios, music publishers, record labels, many of
which are of historical importance. For reasons of historical
documentation, the sheet music listings, discographical references
and discographies for these entries contain the first publication
details of songs and recordings. However, to assist readers
in hearing this music where possible, reference is also frequently
made to reissues of older recordings on compact disc. This
section also covers the broadcasting media, copyright issues,
audio-technical and other hardware terms.
HB, 0826463215, £125.00/$250.00
Available as a 2-volume set with Volume
II: Performance and Production
HB, 0826479545, £160.00 (UK Only)
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Now!
From Reviews...
‘This is an extraordinary achievement and it will become an
absolutely vital and trusted resource for everyone working
in the field of popular music studies. Even more broadly,
anyone interested in popular music or popular music culture
more generally will enjoy – and find many uses for – the wealth
of information and insight captured in this volume,’
Lawrence Grossberg, Morris Davis Professor of Communication
Studies and Cultural Studies, University of North Carolina
at Chapel Hill
‘This is a fabulous book. It will be indispensable to students
of popular music not only as the ultimate work of reference,
but also as a good read. Start browsing and it is almost impossible
to stop!’
Professor Simon Frith, Department of Film and Media, University
of Stirling
Contents
Arrangement of the Material
PART 1: SOCIAL & CULTURAL
DIMENSIONS
1.
Documentation
Archives; Bibliographies; Biography/Autobiography; Discography;
Electronic Information; Encyclopedias; Field Recording; Film
and Television Documentaries; Halls of Fame/Museums; Histories;
Music Press; Popular Music Journals; Song Collecting
2. Popular Music Studies
African-American Studies; Anthropology; Black Studies; Communication
(Communication Studies); Content Analysis; Cultural Studies;
Dialogics; Discourse Analysis; Economics; Ethnomusicology
(click here to view sample entry);
Feminism; Folklore; Geography; History; Literary Criticism;
Music Analysis; Musicology; Music Theory; Political Economy;
Political Theory; Postcolonialism; Postmodernism; Poststructuralism;
Psychoanalysis; Reception and Consumption Theory; Semiology/Semiotics;
Sociology; Structural Homology; Structuralism; Women’s
Studies
3. Social Phenomena
Alcohol; Art and Art Schools; Artifice; Audience; Authenticity;
Carnival; Censorship; Charity Events; Children; Class; Club
Culture; Commercialism/Commercialization; Community; Consumption;
Crime; Cultural Imperialism; Cultural Policy/Regulation; Death;
Deviance; Disasters and Accidents; Drugs and Addiction; Ethnicity
and Race; Exoticism; Fans; Fanzines; Fascism; Fashion; Gender
and Sexuality; Groupies; Heritage; Hybridity and Globalization
(Intercultural Exchange, Acculturation); Identity; Illness,
Injury and Disease; Industrialization; Journalistic Practises;
Kinship; Law; Locality; Love and Courtship; Migration and
Diffusion; Morality; Moral Panic; Music Festivals; Myth; Nationalism;
Nostalgia; Obscenity; Photography; Politics; Popularity; Popular
Music Criticism; Popular Music Education; Popular Music in
Advertising; Popular Music in Film; Pornography; Propaganda;
Radio; Rave Culture; Record Collecting; Religion and Spirituality;
Resistance and Protest; Revivals; Scene (Location); Slavery;
Socialism and Communism; Soundcarrier; Sport; Strardom; The
State; Subculture; Taste; Television; The Theater; Tourism;
Urbanization; War and Armed Conflict; Youth
4. Stylistic and Textual Dimensions
Genre; Humor; Iconography; Signifying; Sound (Local); Spectacle;
Style
5. Venues
PART II: THE INDUSTRY
6. General Terms
Media; Music Industry; Reproduction
7. Audio Technical Terms
Frame; Hi-Fi (FFRR); Mono; Quadraphonic; Stereo; White Noise
8. Broadcasting
Airplay; AM; American Bandstand (click
here to view sample entry); American Forces Network; Broadcasting;
Eurovision Song Contest; FM; Grand Ole Opry; King Biscuit
Time; Make-Believe Ballroom; MTV; Pirate Radio; Playlist;
Programming; Radio; Radio Format; Radio France International;
Radio Free Europe/Radio Liberty; Radio Luxembourg; Radio Shows;
Talent Shows; Television; Television Shows; Transcription
Disc; Voice of America; Your Hit Parade
9. Copyright
Author’s Right; Berne Convention; Bootleg; Copyright;
Copyright Organizations; Counterfeit; Geneva Convention; Home
Taping; Mechanical Right; Moral Right; Neighboring Rights;
Performing Right; Piracy; Public Domain; Rental Right; Rome
Convention; Royalty
10. Deals and Contracts
Contracts; Lawsuits; Licensing
11. The Film Industry and Popular
Music
The Film Industry and Popular Music
12. Hardware
Acetate; Amplifier; Cassette; Cassette Recorder; Compact Disc;
Cylinders; DAT; Digital Compact Cassette; Eight-Track Cartridge;
Gramophone; Headphone; Jukebox; Laser Disc; Loudspeaker; Megaphone;
Minidisc; Phonograph; Radio Receiver; Record; Shellac; Solid
State; Stylus; Tape; Tape Recorder; Video Disc; Video Games;
Vinyl; Walkman
13. Instrument Manufacture
14. Management and Marketing
A&R; Act; Advertising of Popular Music; Agent; Awards;
Catalog; Charts; Circuit; Concert Promotion; Distribution;
E-commerce; Gig; Hit; Impresario; Management; Manager; Market;
Marketing; Market Research; Oldie; One-hit Wonder; One-Stop;
On-Line Distribution; Payola; Plant; Plugging; Polls; Promoter;
Rack Jobber; Ratings; Record Clubs; Retailing; Roadies; Sponsorship;
Talent Scout; Tour; Trade Fairs; Trade Organizations; Trade
Press
15. Publishing
Broadside; Chapbook; Fake Book; Hymnals
Music Publishers
Acuff-Rose Music; Campbell Connelly;
Chappell & Co.; Oliver Ditson & Co.; Leo Feist Music
Publishing Co.; T.B. Harms
Hill & Range; Howley, Haviland & Co.; Jobete Music;
Leeds Music Corp.; E.B. Marks; Mills Music; Northern Songs;
Jerome M. Remick & Co.; The Richmond Organization; Robbins
Music Corp.; Root & Cady; Shapiro, Bernstein & Von
Tilzer; Southern Music (incl. Peermusic); M. Witmark &
Co.; Lawrence Wright Music Co.
Music Publishing; Sheet Music; Songbook; Songsheet Covers;
Songster (1)
16. Recording
Album; Album Cover; A Side; B Side; Concept Album; Cover Version;
Digital Recording; EP; Home Recording; Independent; Label;
Live Album; LP; Major; Matrix; Music Video; Phonogram; Picture
Disc; Production; Record Companies; Record Company; Record
Corporations: BMG; EMI, Polygram, Sony Music Entertainment,
Universal Music Group, Warner Music Group; Record Industry;
Recording Studio
Recording Studios
Abbey Road Studios (UK); AIR Studios
(UK); Atlantic Studios (US); Bearsville Studios (US); Black
Ark (Jamaica); Bokoor Recording Studio (Ghana); Bradley Film
and Recording Studios/Bradley’s Barn (US); Brown Radio
Productions (US);
Buck Owens Recording Studio (US); Capitol Studios (US); Castle
Recording Laboratory (US); Chess Studios (US) (click
here to view sample entry); Companhia dos Técnicos
(Brazil); Compass Point (The Bahamas); Davout Studios (France);
DownTown Studios (South Africa); The Drive-In (US); Dynamic
Sounds (Jamaica); EGREM (Cuba); Eldorado (Brazil); EMI Studios
(Powerhouse Studios) (South Africa); Englewood Cliffs Studios
(US); Estúdios Centauro (Nicaragua); Estúdios
ENIGRAC (Nicaragua); Estúdios Mosh (Brazil); Finnvox
(Finland); Gary Paxton Sound Services Inc. (US); Grant Avenue
Studio (Canada); Guillaume Tell Studios (France); Harry J
Studios (Jamaica); Keisar Studios (Israel); Kirios (Spain);
The Manor (UK); Mosi Oa Tunya Studios (Zimbabwe); Muscle Shoals
Sound (US); Nimbus 9 Studio (Canada); Norman Petty Recording
Studio (US); Paisley Park (US); The Plant (US); Polar Studios
(Sweden); Rockfield Studios (UK); Shed Studios (Zimbabwe);
Shifty Studios (South Africa); Sigma Sound Studios (US); Smart
Studios (US); Stax Studio (US); Strawberry Studios (UK); Studio
B. Mastering (US); Studio 99 (Liberia); Studio One (Jamaica);
Sun Studio (Memphis Recording Studio) (US); Tally Recording
Studio (US); Tambourine Studios (Sweden); Tamla Motown Studios
(US); Treasure Isle (Jamaica); Triton Studios (Israel); Wally
Heider Recording Studio (US); The West Orange Laboratory of
Thomas A. Edison (US); Windmill Lane Recording Studios (Ireland);
WR Studio (Brazil)
Record Labels/Companies
A&M (US); Alerce (Chile); Apple
(UK); ARC (US); Arcade (The Netherlands); Arhoolie (US); Ariola
(Germany); Arista Records (US); Atlantic (US); Avex Trax (Japan);
Balkanton (Bulgaria); Barclay (France); Belter (Spain); Black
Saint/Soul Note (Italy);Bluebird (US); Blue Note Records (US);
Boucherie Productions (France); Brunswick Records (US); Capitol
Records (US); Capricorn (US); Carl Lindström AG (Germany);
Casa Edson (Brazil); CBS-Sony (Japan); CEFA (DRC); Celluloïd
(France); CGD (Italy); Chess (US); Chrysalis (UK); Columbia
(US); Decca (UK); Decca (US); Decca (West Africa); Def Jam
(US); Denon (Japan);
DICAP (Chile); Dischi Ricordi (Italy); Discos Andino (Nicaragua);
Discos Fuentes (Colombia); Document (Austria); Duke/Peacock
(US); ECM Records (Germany); edel music AG (Germany); Edison
(US) (1910-1929); Elektra Records (US); Elenco (Brazil); EMI/HMV
(Africa); ENIGRAC (Nicaragua); Essiebons (Ghana); Factory
Records (UK); Fania (US); Fazer (Finland); Festival (Australia);
Flying Nun (New Zealand); Folkways Records(US); Fonovisa (Mexico);
Gael-Linn (Ireland); Gallo (South Africa); Geffen Records
(US); Gennett Records (US); Gramco (India); Gramophone Co.
(UK); Hispavox (Spain); HMV (UK/US); Hungaroton (Hungary);
Ice (Caribbean); Impusle! (US); Intercord Tonträger GmbH
(Germany); Island Records (UK); Jambo (East Africa); Jive
(UK); King (US); K-Tel (US/UK); LaFace (US); Liberty (US);
Library of Congress Recordings (US); Loningisa (DRC); Max
Music (Spain); Mega Records (Denmark); Melodiya (USSR); Mercury
Records (US); Metronome (Sweden); MGM Records (US); Milan
(France); Minos (Greece); MNW Records (Sweden); Monitor-EMI
(Czech Republic); Motown (Tamla Motown) (US); Mushroom (Australia);
Mute (UK); The National Phonograph Co. (US); Ngoma (DRC);
Nipponophone (Nippon Columbia ) (Japan); Odeon (Germany);
OKeh (US); Pacific Jazz/World Pacific (US); Paramount (US);
Parlophone (Parlophon (UK/Germany); Pathé (France);
Philles Records (US); Play It Again Sam (Belgium); Pony Canyon
(Japan); Prestidge (US); Priority (US);
Private Music (US); Regal Zonophone (UK/Australia); Reprise
Records (US); Riverside(US); Rock Records (Taiwan); Rodven
(Venezuela); Rosebud (France); Rough Trade Records (UK); Rounder
Records (US); Rykodisc (US); Savoy (US);
Sire (US); Smithsonian Institution Recordings (US); Sonet
(Sweden); Sonolux (Colombia); Speciality (US); Stax Records
(US); Stiff Records (UK); Sun Records (US); Supraphon (Czech
Republic); Swaggie (Australia); Syliphone (Guinea); Syllart
(Senegal); Tabansi (Nigeria); Telefunken (Germany); Tommy
Boy (US); 2-Tone (UK); ULO (Greenland); Vanguard (US); V-Disc
(US); Vee-Jay (US); Verve (US); Victor (Japan); Victor (US);
Virgin (UK); Vocalion Records (US); Vogue (France); Windham
Hill (US); Word (US); Yazoo (US); Zafiro (Serdisco) (Spain);
ZTT (UK); Zyx Music (Germany)
Record Manufacture; rpm; 78; Single; Sleeve Note; Soundcarrier;
Soundie; Videoclip
17. Unions
Musicians’ Unions; Unions
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