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Author:   Kai Arne Hansen ,  Eirik Askerøi ,  Freya Jarman
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Weight:   0.380kg
ISBN:  

9780367503239

ISBN 10:   0367503239
Pages:   242
Publication Date:   29 April 2022
Audience:   General/trade ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Introduction: a musicology of popular music and identity KAI ARNE HANSEN, EIRIK ASKERØI, AND FREYA JARMAN 1 The British dandy on the popular musical stage (1866–1915) DEREK B. SCOTT 2 ‘She Said She Said’: the influence of feminine ‘voices’ on John Lennon’s music 32 MATTHEW BANNISTER AND MEGAN ROGERSON-BERRY 3 The classical closet SUSAN MCCLARY 4 Perfect duet? Paradoxes of gender representation and mixedgender collaborations on the Billboard charts from 1955 to 2017 BARBARA BRADBY 5 The pleasure(s) of the pop text: subversion and theatricality in Cloroform and Tove Lo JON MIKKEL BROCH ÅLVIK 6 ‘Everyone is a little bit gay’: LGBTIQ activism in Finnish pop music of the 21st century SUSANNAVÄLIMÄKI 7 ‘Keeping it real’, ‘Keeping it dandy’? Male blackness and the popular music mainstream ANNE DANIELSEN 8 Global success, identitarian performance, and Canadian popular music WILL STRAW 9 ‘Very’ British: a pop musicological approach to the Pet Shop Boys’ ‘Always on My Mind’ SHARA RAMBARRAN 10 Pulp: a paradigm for perversion in pornosonic pop KENNETH SMITH 11 Regina Spektor’s Small Bill$: the cute and the manic-zany as body-political strategies JOHN RICHARDSON AND ANNA-ELENA PÄÄKKÖLÄ 12 Masculinity and the illness narrative in Pain of Salvation’s In the Passing Light of Day LORI BURNS

Reviews

Popular Musicology and Identity attests to Stan Hawkins’s visionary approach in collaborating and bonding with today’s and tomorrow’s leading voices on matters popular. This volume is required reading for anyone interested in how gender, sexuality, class, and identity are expressed through – and manipulated by – popular music’s tools, artists, and audiences. Nina Eidsheim (UCLA Herb Alpert School of Music) Over the last 25 years Stan Hawkins' subtly subversive musicology has revealed a rich new pop world of sexual show-offs and dandies. This collection of essays is an affectionate and instructive exploration of that world, a celebration of the fluidity of the borderlands between art and entertainment, surface and depth, truth and invention, and the look and the sound of music. Simon Frith (University of Edinburgh) From nineteenth-century British music hall through Nordic cool to cultural celebrity in Canada, this is a fitting tribute to Stan Hawkins’s pioneering musicological imagination; linking pop sounds to the multiple identities and varied voices of its performers. It is a compelling compendium; evidence of Hawkins’s major contribution to Northern European and Transatlantic music scholarship. Keith Negus (Goldsmiths, University of London)

Popular Musicology and Identity attests to Stan Hawkins's visionary approach in collaborating and bonding with today's and tomorrow's leading voices on matters popular. This volume is required reading for anyone interested in how gender, sexuality, class, and identity are expressed through - and manipulated by - popular music's tools, artists, and audiences. Nina Eidsheim (UCLA Herb Alpert School of Music) Over the last 25 years Stan Hawkins' subtly subversive musicology has revealed a rich new pop world of sexual show-offs and dandies. This collection of essays is an affectionate and instructive exploration of that world, a celebration of the fluidity of the borderlands between art and entertainment, surface and depth, truth and invention, and the look and the sound of music. Simon Frith (University of Edinburgh) From nineteenth-century British music hall through Nordic cool to cultural celebrity in Canada, this is a fitting tribute to Stan Hawkins's pioneering musicological imagination; linking pop sounds to the multiple identities and varied voices of its performers. It is a compelling compendium; evidence of Hawkins's major contribution to Northern European and Transatlantic music scholarship. Keith Negus (Goldsmiths, University of London)

Author Information

Kai Arne Hansen is Associate Professor of Music at the Department of Arts and Cultural Studies, Inland Norway University of Applied Sciences. Eirik Askerøi is Associate Professor of Music at the Department of Arts and Cultural Studies, Inland Norway University of Applied Sciences. Freya Jarman is Reader in Music at the Department of Music, University of Liverpool.

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