[ANPPOM-Lista] Countercultures and Popular Music

[Carlos Palombini]

Countercultures and Popular Music

   - *Edited by Sheila Whiteley, University of Salford, UK and Jedediah
   Sklower, Université Sorbonne Nouvelle, Paris 3, France*
   - *Series:* Ashgate Popular and Folk Music Series
   <http://www.ashgate.com/default.aspx?page=5097&series_id=251&calcTitle=1>


   - ‘Counterculture’ emerged as a term in the late 1960s and has been
   re-deployed in more recent decades in relation to other forms of cultural
   and socio-political phenomena. This volume provides an essential new
   academic scrutiny of the concept of ‘counterculture’ and a critical
   examination of the period and its heritage. Recent developments in
   sociological theory complicate and problematize theories developed in the
   1960s, with digital technology, for example, providing an impetus for new
   understandings of counterculture. Music played a significant part in the
   way that the counterculture authored space in relation to articulations of
   community by providing a shared sense of collective identity. Not least,
   the heady mixture of genres provided a socio-cultural-political backdrop
   for distinctive musical practices and innovations which, in relation to
   counterculture ideology, provided a rich experiential setting in which
   different groups defined their relationship both to the local and
   international dimensions of the movement, so providing a sense of locality,
   community and collective identity.
   - *Contents: * Preface: dissent within dissent, Jedediah Sklower;
   Introduction: Countercultures and popular music, Sheila Whiteley;
   Reappraising ‘counterculture’, Andy Bennett. Part I Theorising
   Countercultures: Break on through: the counterculture and the climax of
   American modernism, Ryan Moore; The banality of degradation: Andy Warhol,
   the Velvet Underground and the trash aesthetic, Simon Warner; Were British
   subcultures the beginnings of multitude?, Charles Mueller. Part II Utopias,
   Dystopias and the Apocalyptic: The rock counterculture from modernist
   Utopianism to the development of an alternative music scene, Christophe Den
   Tandt; ‘Helter skelter’ and Sixties revisionism, Gerald Carlin and Mark
   Jones; Apocalyptic music: reflections on countercultural Christian
   influence, Shawn David Young; Nobody’s army: contradictory cultural
   rhetoric in Woodstock and Gimme Shelter, Gina Arnold. Part III Sonic
   Anarchy and Freaks: The long freak out: unfinished music and
   countercultural madness in avant-garde rock of the 1960s and 1970s, Jay
   Keister; The Grateful Dead and Friedrich Nietzsche: transformation in music
   and consciousness, Stanley J. Spector; Scream from the heart: Yoko Ono’s
   rock and roll revolution, Shelina Brown; From countercultures to suburban
   cultures: Frank Zappa after 1968, Benjamin Halligan. Part IV
   Countercultural Scenes - Music and Place: Countercultural space does not
   persist: Christiania and the role of music, Thorbjörg Daphne Hall; A
   border-crossing soundscape of pop: the auditory traces of subcultural
   practices in 1960s Berlin, Heiner Stahl; Music and countercultures in
   Italy: the Neapolitan scene, Giovanni Vacca. Bibliography; Discography;
   Filmography; Index.
   - *About the Editor: *Sheila Whiteley was Professor Emeritus, the
   University of Salford, Visiting Professor, Southampton Solent University,
   UK and Research Fellow, the Bader International Study Centre, Queen’s
   University (Canada). Among her many publications: The Space Between the
   Notes: Rock and the Counter Culture (1992); Women and Popular Music (2000);
   and Too Much Too Young (2005).

   A PhD candidate in cultural history and communication sciences
   (university of Paris 3), Jedediah Sklower teaches communication studies at
   Sciences Po Paris and popular music history and aesthetics at the Catholic
   University of Lille. He has been a member of the editorial team of the
   French journal of popular music studies Volume! since 2008. He published
   Free jazz, la catastrophe féconde. Une histoire du monde éclaté du jazz en
   France (1960-1982) (L’Harmattan, 2006), edited a special issue of Volume!
   dedicated to 'listening' (Éditions Mélanie Seteun, 2013). He also
   co-organised the 'Changing the Tune: Popular Music and Politics in the
   XXIst century' international conference in June 2013, with Alenka
   Barber-Kersovan (ASPM) and Elsa Grassy (IASPM-bfe).
   - *Reviews: *'… an expansive, varied, and complex new scholarly
   investigation into one of the most colorful and impactful cultural
   movements of the 20th century. … a collection of informative reflections
   and analyses that every fan of music and/or modern anthropology should find
   incredibly immersive and enlightening.'
   PopMatters

http://www.ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9781472421081&lang=cy-GB

-- 
carlos palombini, ph.d. (dunelm)
professor de musicologia ufmg
professor colaborador ppgm-unirio
www.proibidao.org
ufmg.academia.edu/CarlosPalombini <http://goo.gl/KMV98I>
www.researchgate.net/profile/Carlos_Palombini2
scholar.google.com.br/citations?user=YLmXN7AAAAAJ
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