Bad Music: The Music We Love to Hate
Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" by the academy that now has courses on these and many other types of music. This book addresses why this is so through a series of essays on different musical forms and performers. It looks at alternate ways of judging musical performance beyond the critical/academic nexus, and suggests new paths to follow in understanding what makes some music "popular" even if it is judged to be "bad." For anyone who has ever secretly enjoyed ABBA, Kenny G, or disco, Bad Music will be a guilty pleasure!
Comentarios de la gente - Escribir un comentario
No encontramos ningún comentario en los lugares habituales.
What is Bad Music?
Values Identity Politics
White Trash Alchemies of the Abject Sublime Country as Bad Music
Pop Music Racial Imagination and the Sounds of Cheese Notes on Losers Lounge
Bad World Music
Theorizing the Musically Abject
Canonizing the Popular Discovering the Mundane
Does Kenny G Play Bad Jazz? A Case Study
Noise Malfunction and Discourses of InAuthenticity
Extreme Noise Terror Punk Rock and the Aesthetics of Badness
Glitch The Beauty of Malfunction
Glitches Bugs and Hisses The Degeneration of Musical Recordings and the Contemporary Musical Work
Rock Critics Need Bad Music
Much Too Loud and Not Loud Enough Issues Involving the Reception of Staged Rock Musicals
Trivial Music Trivialmusik Preface and Trivial Music and Aesthetic Judgment
Otras ediciones - Ver todas
Adorno aesthetic judgment album American Idol Angry Inch argue argument artists Attali audience authenticity bad music banal band become Bourdieu Cambridge camp century classical music commercial composers concept contemporary contestants country music critique culture Dahlhaus discourse discussion ence example experience extreme hardcore fans film folk music function genre glitch glitch music Global Hedwig Ibid ideology Kenny G Kristeva label Lead Belly listening Lomax Loser's Lounge lounge music mainstream marketing means melody metal music industry musical style musical theater musicians Musicology narratives noise notes object orchestra original performance Personal communication play political pop music popular music production punk racial radio record reference repertoire rock critics rock musicals Rolling Stone Routledge singing smooth jazz social songs sonic sound story taste tion traditional trans trivial music tune University Press urban vocal voice world music York