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LEADER 03306cam 22004574a 4500

001 ocm85018051;

003 OCoLC;

005 20141211195619.0;

008 070202s2007 iluag bk 001 0 eng ;

010 a| 2007005046;

020 a| 9780226350370 (cloth : alk. paper);

020 a| 0226350371 (cloth : alk. paper);

020 a| 9780226350394 (pbk. : alk. paper);

020 a| 0226350398 (pbk. : alk. paper);

020 z| 9780226720005 (cloth : alk. paper);

020 z| 0226720004 (cloth : alk. paper);

020 z| 9780226720012 (pbk. : alk. paper);

020 z| 0226720012 (pbk. : alk. paper);

035 a| (Sirsi) o85018051;

035 a| (OCoLC)85018051;

049 a| EREM;

050 00 a| ML3477b| .H65 2007;

082 00 a| 781.642| 22;

100 1 a| Holt, Fabian.=| ^A721420;

245 10 a| Genre in popular music /c| Fabian Holt.;

260 a| Chicago :b| University of Chicago Press,c| 2007.;

300 a| xiv, 221 pages :b| illustrations, music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 201-212) and index.;

504 a| "The Jeff Parker discography": pages 181-183.;

505 0 a| Roots and refigurations -- Double session I: Reactions to rock -- A model of genre transformation -- Country music and the Nashville sound -- Jazz and jazz-rock fusion -- Double session II: Urban boundaries -- Jeff Parker and the Chicago jazz scene -- A closer look at Jeff Parker and his music -- Music at American borders.;

520 a| The popularity of the motion picture soundtrack O Brother, Where Art Thou? brought an extraordinary amount of attention to bluegrass, but it also drew its share of criticism from some aficionados who felt the album's inclusion of more modern tracks misrepresented the genre. This soundtrack, these purists argued, wasn?t bluegrass, but "roots music," a new and, indeed, more overarching category concocted by journalists and marketers. Why is it that popular music genres like these and others are so passionately contested? And how is it that these genres emerge, coalesce, change, and die out? This book provides new understanding as to why we debate music categories, and why those terms are unstable and always shifting. To tackle the full complexity of genres in popular music, the author embarks on a wide-ranging and ambitious collection of case studies. Here he examines not only the different reactions to O Brother, but also the impact of rock and roll's explosion in the 1950s and 1960s on country music and jazz, and how the jazz and indie music scenes in Chicago have intermingled to expand the borders of their respective genres. Throughout, the author finds that genres are an integral part of musical culture--fundamental both to musical practice and experience and to the social organization of musical life.;

650 0 a| Popular musicz| United Statesx| History and criticism.=| ^A16413;

650 0 a| Popular music genres.=| ^A1065251;

994 a| C0b| ERE;

596 a| 3;

998 a| 1092827;

999 a| ML3477 .H65 2007w| LCc| 1i| 30372013234148d| 9/14/2022e| 8/29/2022f| 4/10/2024g| 6l| MSTm| JMUSICn| 8r| Ys| Yt| MGESBKu| 9/11/2007x| BOOKz| MCIRCo| .STAFF. enhanced 9/14/23 -jjab;

Genre in popular music / Fabian Holt.

Author/creator	Holt, Fabian
Format	Book
Publication Info	Chicago : University of Chicago Press, 2007.
Description	xiv, 221 pages : illustrations, music ; 24 cm
Subjects	Popular music--United States. --History and criticism. Popular music genres.

Contents	Roots and refigurations -- Double session I: Reactions to rock -- A model of genre transformation -- Country music and the Nashville sound -- Jazz and jazz-rock fusion -- Double session II: Urban boundaries -- Jeff Parker and the Chicago jazz scene -- A closer look at Jeff Parker and his music -- Music at American borders.
Abstract	The popularity of the motion picture soundtrack O Brother, Where Art Thou? brought an extraordinary amount of attention to bluegrass, but it also drew its share of criticism from some aficionados who felt the album's inclusion of more modern tracks misrepresented the genre. This soundtrack, these purists argued, wasn?t bluegrass, but "roots music," a new and, indeed, more overarching category concocted by journalists and marketers. Why is it that popular music genres like these and others are so passionately contested? And how is it that these genres emerge, coalesce, change, and die out? This book provides new understanding as to why we debate music categories, and why those terms are unstable and always shifting. To tackle the full complexity of genres in popular music, the author embarks on a wide-ranging and ambitious collection of case studies. Here he examines not only the different reactions to O Brother, but also the impact of rock and roll's explosion in the 1950s and 1960s on country music and jazz, and how the jazz and indie music scenes in Chicago have intermingled to expand the borders of their respective genres. Throughout, the author finds that genres are an integral part of musical culture--fundamental both to musical practice and experience and to the social organization of musical life.
Bibliography note	Includes bibliographical references (pages 201-212) and index.
Bibliography note	"The Jeff Parker discography": pages 181-183.
LCCN	2007005046
ISBN	9780226350370 (cloth : alk. paper)
ISBN	0226350371 (cloth : alk. paper)
ISBN	9780226350394 (pbk. : alk. paper)
ISBN	0226350398 (pbk. : alk. paper)

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Music	Music Stacks	ML3477 .H65 2007	✔ Available	Place Hold

Genre in popular music / Fabian Holt.

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