Routledge Companion to Popular Music History and Heritage

<p><i>The Routledge Companion to Popular Music History and Heritage </i>examines the social, cultural, political and economic value of popular music as history and heritage. Taking a cross-disciplinary approach, the volume explores the relationship between popular music and the past, and how interpretations of the changing nature of the past in post-industrial societies play out in the field of popular music.</p><p>In-depth chapters cover key themes around historiography, heritage, memory and institutions, alongside case studies from around the world, including the UK, Australia, South Africa and India, exploring popular music’s connection to culture both past and present.</p><p>Wide-ranging in scope, the book is an excellent introduction for students and scholars working in musicology, ethnomusicology, popular music studies, critical heritage studies, cultural studies, memory studies and other related fields.</p> <p>List of figures, tables and boxes</p><p>Notes on contributors</p><p>Acknowledgements</p><p>1 Framing the field of popular music history and heritage studies<br><i>Zelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah Baker</i></p><p>PART 1<br>History and historiography</p><p>2 Problematising popular music history in the context of heritage and memory<br><i>Bruce Johnson</i></p><p>3 Gendered narratives of popular music history and heritage<br><i>Rosa Reitsamer</i></p><p>4 Racialising music’s past and the media archive <br><i>Nabeel Zuberi</i></p><p>5 Sounding out popular music history: a musicological approach<br><i>Richard Elliott</i></p><p>6 Reconstructing the past: popular music and historiography<br><i>Steve Waksman</i></p><p>7 Cultural consecration and the creation of canons<br><i>Vaughn Schmutz</i></p><p>8 What we did was secret: (one version of)<b> </b>the writing of popular music’s histories<br><i>Jon Dale</i></p><p>9 Music magazines and the first draft of history<br><i>Dave Laing and Catherine Strong</i></p><p>10 Screening popular music’s past: music documentary and biopics<br><i>Tim Wall and Nicolas Pillai</i></p><p>11 Historiography and the role of the archive<br><i>Antti-Ville Kärjä</i></p><p>PART 2<br>Heritage</p><p>12 What is popular music cultural heritage?<br><i>Paul Long</i></p><p>13 The politics of popular music heritage<br><i>Henry Johnson</i></p><p>14 Local and global intersections of popular music history and heritage<br><i>Robert Knifton</i></p><p>15 Popular music heritage and tourism<br><i>Brett D. Lashua</i> </p><p>16 DIY preservationism and recorded music – saving lost sounds<br><i>Andy Bennett</i></p><p>17 ‘Knowledge of Beatles songs and McCartney parts essential’: tribute acts, the music industries and the value of heritage<br><i>Shane Homan</i></p><p>18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritage<br><i>Catherine Strong</i></p><p>PART 3<br>Memory</p><p>19 Popular music and the memory spectrum<br><i>Michael Pickering</i></p><p>20 Popular music and autobiographical memory: intimate connections over the life course<br><i>Lauren Istvandity</i></p><p>21 Popular music in mediated and collective memory<br><i>Ben Green</i></p><p>22 ‘Do you remember rock ‘n’ roll radio?’ How audiences talk about music-related personal memories, preferences, and localities<br><i>Amanda Brandellero, Marc Verboord and Susanne Janssen</i></p><p>23 Popular music and commemorative ritual: a material approach<br><i>Irene Stengs</i></p><p>24 Songs that resonate: the uses of popular music nostalgia<br><i>Arno van der Hoeven</i></p><p>25 Citizen archiving and virtual sites of musical memory in online communities<br><i>Jez Collins</i></p><p>PART 4<br>Institutions</p><p>26 Representing popular music histories and heritage in museums<br><i>Marion Leonard</i></p><p>27 Sound archives, ethnography and sonic heritage<br><i>Noel Lobley</i></p><p>28 Popular music halls of fame as institutions of cultural heritage<br><i>Raphaël Nowak and Sarah Baker</i></p><p>29 DIY institutions and amateur heritage making<br><i>D-M Withers</i></p><p>30 Reissue programmes: framing the past as project<br><i>Elodie A. Roy</i></p><p>PART 5<br>Case studies</p><p>31 Rethinking Indigenous popular music heritage as Australian heritage<br><i>Åse Ottosson</i></p><p>32 ‘Koile, ‘Te Hua’ and the Reggae-fication of cultural heritage<br><i>Dan Bendrups, Pip Laufiso and Hiliako Iaheto</i></p><p>33 Bollywood: its histories in India, and beyond<br><i>Jayson Beaster-Jones</i></p><p>34 Preserving popular music heritage in Hungary<br><i>Emília Barna</i></p><p>35 The history and heritage of popular Afrikaans music<br><i>Schalk van der Merwe</i></p><p>36 Sound archives in West Africa<br><i>Graeme Counsel</i></p><p>37 Palestinian popular music: how popular music becomes heritage<br><i>Moslih Kanaaneh</i></p><p>38 Phillips’ Sound Recording Services: the studio that tourism forgot<br><i>Mike Brocken</i></p><p>Index</p>