<div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><h1 class="">Countercultures and Popular Music</h1></div><ul><li id="Template_ctl10_ctl00_Affiliations"><strong>Edited by Sheila Whiteley, University of Salford, UK and Jedediah Sklower, Université Sorbonne Nouvelle, Paris 3, France</strong></li><li id="Template_ctl10_ctl00_Series">
<strong>Series:</strong>
<a id="Template_ctl10_ctl00_SeriesLink" href="http://www.ashgate.com/default.aspx?page=5097&series_id=251&calcTitle=1">Ashgate Popular and Folk Music Series</a>
</li></ul><ul><li id="Template_ctl10_ctl00_LongBlurb">‘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.</li><li id="Template_ctl10_ctl00_Contents"><strong>Contents: </strong>
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.</li><li id="Template_ctl10_ctl00_About"><strong>About the Editor: </strong>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). <br><br>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).</li><li id="Template_ctl10_ctl00_Reviews"><strong>Reviews: </strong>'…
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.'<br>PopMatters</li></ul><a href="http://www.ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9781472421081&lang=cy-GB">http://www.ashgate.com/default.aspx?page=637&calcTitle=1&isbn=9781472421081&lang=cy-GB</a><br><br>-- <br><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div>carlos palombini, ph.d. (dunelm)<br>professor de musicologia ufmg<br>professor colaborador ppgm-unirio<br><a href="http://www.proibidao.org" target="_blank">www.proibidao.org</a><br><a href="http://goo.gl/KMV98I" target="_blank">ufmg.academia.edu/CarlosPalombini</a><br></div><div><a href="http://www.researchgate.net/profile/Carlos_Palombini2" target="_blank">www.researchgate.net/profile/Carlos_Palombini2</a><br><a href="http://scholar.google.com.br/citations?user=YLmXN7AAAAAJ" target="_blank">scholar.google.com.br/citations?user=YLmXN7AAAAAJ</a><br></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div></div></div></div></div></div></div></div></div></div></div>
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