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Queering the Popular Pitch
Download Queering the Popular Pitch
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About the Author
Sheila Whiteley is Chair of Popular Music at the University of Salford. She is the author of Sexing the Groove: Popular Music and Gender ,Women and Popular Music : Sexuality, Identity and Subjectivity and Too Much Too Young: Popular Music, Age and Identity all published by Routledge. Jennifer Rycenga is Coordinator of Women's Studies at San Jose State University in California. She coedited Frontline Feminisms: Women, War, and Resistance with Marguerite Waller (Garland 2001). She has written for repurcussions, The Encyclopedia of Women and World Religion, The Garland Encyclopedia of World Music and The Encyclopedia of Popular Music of the World..
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Product details
Paperback: 328 pages
Publisher: Routledge; 1 edition (May 7, 2006)
Language: English
ISBN-10: 041597805X
ISBN-13: 978-0415978057
Product Dimensions:
6 x 0.7 x 9 inches
Shipping Weight: 14.4 ounces (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#1,797,749 in Books (See Top 100 in Books)
What is not world music? If a Greek musician performs rap or mainstream jazz, is it world music? Elijah Wald, the author, musician, and globetrotter who interviewed these many musicians, provides us with much more than what appears in album press releases or liner notes. His insightful commentaries within each profile, in addition to the regional introductions, are excellent and give the reader a greater understanding of what is regarded as world music and how such musicians balance their traditions and roots with modern audience expectations and desires. Some 65 artists from around the planet are profiled. Even the United States is included, as Hawai'ian and Native American indigenous musicians certainly meet the criteria. Selection is, of course, a personal and pragmatic decision, but I find myself in large agreement and would have included nearly all the representatives. The quality of each section varies with the artist, owing to their own analyses and, I assume, familiarity with English, but even the popular, well-interviewed musicians offer new observations about their art and industry. This, therefore, is a fine book (think gift!) for the world music aficionado and ethnomusicologist. This grand survey will also enrich the curious listener who desires to learn about different world musics and musicians.
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