Titlebook: On Popular Music and Its Unruly Entanglements; Nick Braae,Kai Arne Hansen Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 P

Melodrama

赦免

HAWK

To Begin Untangling Popular Music,ay in which popular music weaves into our society, culture, and lives. We introduce perspectives on how popular music is connected and entangled with other art forms, media, and phenomena, also raising the issue that the category of “popular music” is not necessarily one with stable or impermeable b

确定方向

Musicology Without Musicighting the ways that they are not only inseparable from but also constituted by a variety of distributed and ostensibly non-musical conditions. The word “without,” then, connotes less its everyday prepositional meaning as . than its archaic adverbial meaning as .—although, as I show in this chapter

碎石头

MAPLE

侵略主义

eulogize

War and Trauma in the Music of Bruce Springsteen: “Born in the U.S.A.,” “Devils & Dust,” and “The Wa examples, the significance of music as a vehicle for dealing with collective trauma and transgenerational burden, and hence as a sociocultural site for the social healing process. By examining musical examples from Springsteen’s catalogue, I simultaneously urge the reader to view this notable artis

PLE

Electric Affinities: Jimi Hendrix, Richard Wagner, and the Thingness of Soundecisely in relation to thingness. Such an understanding influences both the production of sound, sounds’ relation to technology, as well as how sound is heard, felt, or experienced. The article is also an experiment in historiography, in the sense that it tries to show how two historical moments can

Charade