Making popular music : musicians, creativity and institutions

목차 (Table of Contents)

• CONTENTS
• Acknowledgements = ⅶ
• Introduction = ⅸ
• Two critiques of production = xiii
• Popular music's short twentieth century = xviii
• Argument and methods = xx
• 1 Market : the selling of soul(s) = 1
• Adorno, equivalence and the market = 3
• Entrepreneurs and innovation = 8
• Music markets and the political economy of popular music = 14
• Growing up broken up : the emergence of institutional autonomy = 19
• Proto-markets and author-stars = 25
• Conclusion = 32
• 2 Making up and showing off : what musicians do = 34
• Music-making and the radius of creativity = 35
• Social authorship and voice = 42
• Mingus Fingers = 46
• Performance : theatre and process = 53
• Performance : loud, clear and interrupted = 58
• Summing the chapter up = 66
• 3 Technology : the instrumental instrument = 68
• Audio recording : a case of late development = 70
• Dissemination and crystallization = 73
• Ventriloquism = 75
• Tape delay (1) : on the cusp of the big sound = 80
• Tape delay (2) : making space = 84
• Aesthetics and politics in the Wall of Sound = 87
• Multitracking and experimenting with time = 89
• Programmed beats in the new age of dance = 93
• Coda : technological determinism and gendered power = 98
• 4 Genre-cultures = 102
• The sound of genre = 104
• The inevitability of genre : the case of free music = 107
• Community, subculture and the structural homology = 110
• Community form, or genres across time, space and race = 115
• Conclusion = 128
• 5 Dance music : business as usual or heaven on earth? = 130
• Dance music : context = 133
• From house to drum and bass : two kinds of generic change = 135
• Agency, creativity and the aesthetics of dance = 140
• Dance music networks : corporal and economic = 148
• Record companies, producers and the politics of production = 155
• Conclusion-creating in small amounts = 160
• Endnotes = 163
• Bibliography = 173
• Discography = 191
• Index = 193