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