Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" by the academy that now has courses on these and many other types of music. This book addresses why this is so through a series of essays on different musical forms and performers. It looks at alternate ways of judging musical performance beyond the critical/academic nexus, and suggests new paths to follow in understanding what makes some music "popular" even if it is judged to be "bad." For anyone who has ever secretly enjoyed ABBA, Kenny G, or disco, Bad Music will be a guilty pleasure!
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Chris Washburne is an Assistant Professor in the Music Department at Columbia University. He is also a trombonist who has played with major bands led by Tito Puente and Eddie Palmieri, and leads his own Latin-jazz group.
Maiken Derno holds a Post-Doctoral Fellowship in the Dept of Comparative Literature at the U of Copenhagen, and was a Fulbright Scholar at Columbia U from 1997-98. She also serves as an editor for Brondum Art Publishers, Copenhagen. They reside in New York City.
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Descrizione libro Routledge, 2004. Condizione libro: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Editor's Preface [Acknowledgements]IntroductionMaiken Derno and Christopher WashburneChapter 1: What is Bad Music?Simon FrithI. Value & Identity PoliticsChapter 2: White Trash Alchemies of the Abject Sublime: Country as "Bad" MusicAaron A. FoxChapter 3: Pop Music, Racial Imagination, and the Sounds of Cheese:Notes on Loser's LoungeJason Lee OakesChapter 4: Bad World MusicTimothy D. TaylorChapter 5: Theorizing the Musically AbjectElizabeth TolbertII. Canonizing the Popular, Discovering the MundaneChapter 6: Does Kenny G play Bad Jazz?: A Case StudyChristopher WashburneChapter 7: The Flight from BanalityJames KoehneChapter 8: The Good, The Bad, and The FolkRichard CarlinChapter 9: Film, Music, and the Redemption of the MundaneGiorgio BiancorossoChapter 10: A moment like this: American Idol and narratives of meritocracyMatthew Wheelock StahlIII. Noise, Malfunction, and Discourses of (In)AuthenticityChapter 11: Extreme Noise Terror: Punk Rock and the Aesthetics of BadnessAngela RodelChapter 12: Glitch - The Beauty of MalfunctionTorben SangildChapter 13: Glitches, Bugs, and Hisses: the degeneration of musical recordings and the contemporary musical workEliot BatesChapter 14: Rock Critics Need Bad MusicDeena WeinsteinChapter 15: Much Too Loud and Not Loud Enough:Issues Involving the Reception of Staged Rock MusicalsElizabeth L. WollmanIV. Historical AfterthoughtChapter 16: Trivial Music (Trivialmusik): "Preface" and "Trivial Music and aesthetic judgment"Carl Dahlhaus, translated by Ulrike SailerIntroductory comments by Walter FrischList of contributors. Codice libro della libreria ABE_book_new_0415943663
Descrizione libro Routledge, 2004. Paperback. Condizione libro: New. book. Codice libro della libreria 0415943663
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Descrizione libro 2004. Paperback. Condizione libro: New. 1st. 163mm x 22mm x 230mm. Paperback. Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what ma.Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. 288 pages. 0.531. Codice libro della libreria 9780415943666
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