Relevant bibliographies by topics / Popular music China History and criticism

Academic literature on the topic 'Popular music China History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 30 January 2023

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Journal articles on the topic "Popular music China History and criticism"

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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.

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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Potter, Pitman. "People's Republic of China Provisional Regulations on Art Import and Export Administration." International Journal of Cultural Property 18, no. 1 (February 2011): 131–37. http://dx.doi.org/10.1017/s0940739111000099.

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China's increased interaction with the global community has led to significant changes in art and artistic expression. The China art market is expanding by leaps and bounds, and artists are subject to an increasingly broad range of influences. Not least of these are the discourses of artistic criticism, with targets that range from international financial institutions to domestic policies. Art in China has for millennia been used as a vehicle for political criticism. Among early examples are the bamboo and landscape paintings of the Yuan dynasty that conveyed a sense of whimsical alienation from the affairs of formal society—implicitly a critique of Mongol rule. During the revolutionary period prior to 1949, the Communist insurgency encouraged painters like Shi Lu to enliven popular resistance to Japanese imperialism and against China's Goumindang rulers.
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Blake, C. Fred. "Lampooning the Paper Money Custom in Contemporary China." Journal of Asian Studies 70, no. 2 (May 2011): 449–69. http://dx.doi.org/10.1017/s0021911811000076.

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Over the past millennium and across the length and breadth of China and beyond, people have been burning paper replicas of the material world to send to their deceased family members, ancestors, and myriads of imaginary beings. The paper replicas, which include all types of goods and treasures, mostly old and new forms of money, is commonly referred to as the paper money custom. Studies of the paper money custom have neglected the native opposition to it, especially that of the contemporary intelligentsia, one form of which consists of news reports and human interest stories in the popular press that lampoon the practice of burning paper money. Many stories lampoon the paper money custom by showing how it burlesques traditional virtues such as filial piety. One of the interesting maneuvers in this criticism is how it employs the old and newer kinds of paper monies to shape the response of the readers.
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Mitchell, Gillian A. M. "‘Mod Movement in Quality Street Clothes’: British Popular Music and Pantomime, 1955–75." New Theatre Quarterly 33, no. 3 (July 10, 2017): 254–76. http://dx.doi.org/10.1017/s0266464x17000306.

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From the late 1950s onwards, young rock ‘n’ roll musicians and popular singers were introduced into commercial Christmas pantomime productions. While this practice, which constituted an extension of their involvement in the broader sphere of variety theatre, has been previously noted, it is seldom accorded much sustained attention. In this article Gillian Mitchell explores the impact which such performers made upon pantomime, while observing the ways in which involvement in pantomime productions affected their careers and aspirations. ‘Pop stars’ brought much-needed revenue to struggling theatres, and, while their presence onstage alongside experienced pantomime performers sometimes attracted criticism, they also contributed in many ways to a reinvigoration of the medium, whether by offering fresh scope for topical gags, or by giving ambitious producers the chance to more more experimental types of production. The article also questions the notion that, by the late 1960s, pantomime had become a ‘last refuge’ for those popular musicians who were apparently unable to maintain a foothold in the increasingly ‘serious’ world of rock music. Gillian A.M. Mitchell is a Lecturer in Modern History at the University of St Andrews. This article forms part of a larger project which explores adult reactions to popular music and inter-generational relations in Britain from the 1950s to the 1970s.
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RUPKE, HEIDI NETZ, and GRANT BLANK. "“Country Roads” to Globalization: Sociological Models for Understanding American Popular Music in China." Journal of Popular Culture 42, no. 1 (February 2009): 126–46. http://dx.doi.org/10.1111/j.1540-5931.2009.00574.x.

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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.

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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.
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Devine, Kyle. "Imperfect sound forever: loudness wars, listening formations and the history of sound reproduction." Popular Music 32, no. 2 (May 2013): 159–76. http://dx.doi.org/10.1017/s0261143013000032.

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AbstractThe purpose of this paper is to provide some historical perspective on the so-called loudness war. Critics of the loudness war maintain that the average volume level of popular music recordings has increased dramatically since the proliferation of digital technology in the 1980s, and that this increase has had detrimental effects on sound quality and the listening experience. My point is not to weigh in on this debate, but to suggest that the issue of loudness in sound recording and playback can be traced back much earlier than the 1980s. In fact, loudness has been a source of pleasure, a target of criticism, and an engine of technological change since the very earliest days of commercial sound reproduction. Looking at the period between the turn-of-the-century format feud and the arrival of electrical amplification in the 1920s, I situate the loudness war within a longer historical trajectory, and demonstrate a variety of ways in which loudness and volume have been controversial issues in – and constitutive elements of – the history of sound reproduction. I suggest that the loudness war can be understood in relation to a broader cultural history of volume.
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Dissertations / Theses on the topic "Popular music China History and criticism"

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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.

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胡又天. "華語流行歌詞的演變= The development of Chinese popular song lyrics (1970-2013) /胡又天." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/343.

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19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.
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莫沉. "媒介. 現代性. 粉絲: 香港流行樂在中國內地的研究 (1992-2015)= Media, modernity, fandom: a study of Hong Kong popular music in mainland China (1992-2015)." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/342.

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The influence of Hong Kong popular music, or Cantonese songs, has reached its peak in the 1980s. However, since late 1990s, along with the emergence of a series of historical events, such as the return of Hong Kong to China in 1997, the breakout of financial crisis, and China’s accession to WTO, Hong Kong’s music industry encountered many adverse situations, such as the sharp drop in record sales, and the stagnation of star creation mechanism. As a consequence, many people believed that Hong Kong popular music had “died”. This study investigates the development of Hong Kong popular music in Chinese mainland since 1992 with the research methods of text interpretation, audience analysis, and participant observation by placing Hong Kong popular music in the contexts of China’s official ideology, popular culture industry, mass media and new media. It points out that Hong Kong popular music has demonstrated complex features involving compromise and conflict, unity and split, repression and resistance, while participating in the construction of the identity of “Great China”, the propagation of urban modernity and the production of heterogeneous “noises”. To reveal the complexity of these features, this study analyzes the songs, performances and fans activities of four major Hong Kong popular music figures—— Andy Lau, Faye Wong, Eason Chan and Anthony Wong. During 1990s, when the official media was the mainstream propagation channel, Hong Kong singers could only realize their commercial interests by first participating in the construction of the identity of “Great China”. In Hong Kong’s handover ceremony, Andy Lau performed the song “Chinese People” and sang folk songs with Cantonese lyrics. These performances clearly show how the highly-mature Hong Kong idol industry flexibly used the localization strategy to win the mainland market. Faye Wong and her creative group demonstrate the advantages of the modern urban language: the globalized human resources, the diversified musical styles and the collaged post-modern images; they interprets what the concepts of “urbanity”, “modernity” and “personality” are. Since the new millennium, the popularity of Internet greatly shocks the dominance of official discourse, and the development of market economy brings tremendous opportunities for the public to appreciate, consume and evaluate Hong Kong popular music. Meanwhile, the fans culture has been gradually flourishing. During this period, Eason Chan, relying on a large number of non-love songs and superb live performances, obtains great business success, but keeps a distance away from the aesthetic attitude of “Great China”. Such self-consciousness is spread in the new media era when singers like “Anthony Wong” produce heterogeneous “noises” with cross-regional, cross-media, mainstream and independent styles. These styles are neither “mainland songs” nor individualism; they reveal the non-commercial facet of Hong Kong popular music. This study argues that it is inadequate to judge the rise and fall of Hong Kong popular music if only focusing on its commercial success. The hybridity of Hong Kong popular music should be discussed in specific social and cultural contexts. This study suggests that Hong Kong popular music is not only a leader of the modern urban culture, but also a main force of constructing “Chinese identity”. When the commercial myth disappears, the alternative side of Hong Kong popular music, characterized by questioning, reflection and criticism, becomes prominent. This kind of trend not only creates new connections for the independent music in mainland, but also provides a historic opportunity for the reconstruction of Hong Kong identity = 香港流行音樂，或稱粵語歌的影響力，曾在上世紀八十年代達到頂峰。然而，在一九九零年代後期，伴隨著九七回歸、金融危機、內地加入WTO組織等歷史事件的推進，香港音樂產業出現了唱片銷量銳減，明星魅力減退，造星機制更新遲滯等不良現狀，導致人們認為，香港流行樂風光不再，「粵語歌已死」。本文將以1992年至今在中國內地的香港流行樂作為研究對象，採用文本解讀、受眾分析、參與式觀察等研究方法，將香港流行樂置於中國內地的官方意識形態、流行文化產業、大眾媒介以及新媒體等多重分析語境之中，指出香港流行樂在參與「大中國」身份建構、傳播都市現代性、發出異質「噪音」等方面，呈現出妥協與衝突、同一與分裂、壓制與抵抗的複雜面貌。為了展開這一面貌的複雜性，文章主體將通過對四位重要的香港流行樂人物——劉德華、王菲、陳奕迅、黃耀明——他們的歌曲、表演、歌迷活動等進行論述。在官方媒介為主流傳播途徑的一九九零年代，香港歌手的商業利益，首先需要參與「大中華」的同一性身份建構才可實現。劉德華在九七回歸慶典中唱響「中國人」，以及對粵語填詞的民歌演繹，無一不彰顯高度成熟的香港偶像工業，如何靈活運用「在地化」策略來贏得內地市場。而王菲及相關的創意團體，則體現了都市現代性語言的優勢：全球化的人力資源、多變的音樂風格、拼貼的後現代影像，書寫出何為「都市」、「摩登」、「個性」等概念。踏入新千年，互聯網的普及動搖了官方話語的壟斷地位，市場經濟的發展為人們聆聽、消費、評價香港流行樂帶來了更多可能，歌迷文化也隨之逐漸興盛。在這一時期，陳奕迅憑藉大量的非情歌和精湛的現場演出，在贏得商業成功的同時，卻跟「大國崛起」的音樂審美態度保持了距離。這一疏離的自我意識在新媒體時代得以散播——「黃耀明們」在跨地域、跨媒介、主流與獨立風格之間發出異質噪音，這種既不是「大路情歌」，也並非個人主義的成功歌頌，展現出香港流行樂非商業性的另類一面。本文認為，由單一的商業成功與否，來評判香港流行樂的興衰是遠遠不夠的，而香港流行樂的混雜多元性也需要放置於特定的社會文化語境中才具備意義。經過論證，香港流行樂既是都市現代文化的引領者，也是「中國人」身份建構的中堅力量之一。但當商業神話消失之際，香港流行樂中質疑、反思、批判的另類一面得以凸顯，這一趨勢不僅為內地獨立音樂創造新的聯結，也為香港重構本土身份提供了歷史契機。
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Chen, Szu-Wei. "The music industry and popular song in 1930s and 1940s Shanghai : a historical and stylistic analysis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/202.

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In 1930s and 1940s Shanghai, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular song which suggests the beginnings of Chinese popular music in modern times. However, Shanghai popular song has long been neglected in most works about the modern history of Chinese music and remains an unexplored area in Shanghai studies. This study aims to reconstruct a historical view of the Shanghai popular music industry and make a stylistic analysis of its musical products. The research is undertaken at two levels: first, understanding the operating mechanism of the ‘platform’ and second, investigating the components of the ‘products’. By contrasting the hypothetical flowchart of the Shanghai popular music industry, details of the producing, selling and consuming processes are retrieved from various historical sources to reconstruct the industry platform. Through the first level of research, it is found that the rising new media and the flourishing entertainment industry profoundly influenced the development of Shanghai popular song. In addition, social and political changes and changes in business practices and the organisational structure of foreign record companies also contributed to the vast production, popularity and commercial success of Shanghai popular song. From the composition-performance view of song creation, the second level of research reveals that Chinese and Western musical elements both existed in the musical products. The Chinese vocal technique, Western bel canto and instruments from both musical traditions were all found in historical recordings. When ignoring the distinctive nature of pentatonicism but treating Chinese melodies as those on Western scales, Chinese-style tunes could be easily accompanied by chordal harmony. However, the Chinese heterophonic feature was lost in the Western accompaniment texture. Moreover, it is also found that the traditional rules governing the relationship between words and the melody was dismissed in Shanghai popular songwriting. The findings of this study fill in the neglected part in modern history of Chinese music and add to the literature on the under-explored musical area in Shanghai studies. Moreover, this study also demonstrates that against a map illustrating how musical products moved from record companies to consumers along with all other involved participants, the history of popular music can be rediscovered systematically by using songs as evidence, treating media material carefully and tracking down archives and surviving participants.
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Fu, Lok-yi Alice, and 傅樂怡. "Contemporary Cantopop: reception of crossovermusic in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634334.

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Wong, Jum-sum James, and 黃湛森. "The rise and decline of cantopop." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31057330.

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Fung, Wai-man Iris, and 馮慧敏. "The use of English in canto-pop songs in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2684333X.

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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Books on the topic "Popular music China History and criticism"

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China with a cut: Globalisation, urban youth and popular music. Amsterdam: Amsterdam University Press, 2010.

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Steen, Andreas. Der lange Marsch des Rock 'n' Roll: Pop- und Rockmusik in der Volksrepublik China. Hamburg: Lit Verlag, 1996.

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The narrative arts of Tianjin: Between music and language. Burlington, VT: Ashgate, 2010.

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Ge qu yu xing bie: Zhongguo dang dai liu xing yin yue yan jiu = Song and gender : a study of popular music in China today. Beijing: Zhongguo she hui ke xue chu ban she, 2013.

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5

Lee, Gregory. Troubadours, trumpeters, troubled makers: Lyricism, nationalism, and hybridity in China and its others. London: Hurst, 1996.

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6

Lee, Gregory B. Troubadours, trumpeters, troubled makers: Lyricism, nationalism, and hybridity in China and its others. Durham: Duke University Press, 1996.

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7

Núñez, Jorge. El pasacalle: Himno de la patria chica : estudio y seleccion antologica. Quito, Ecuador: SINAB, Sistema Nacional de Bibliotecas, 1998.

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Lee, Gregory B. La Chine et le spectre de l'Occident: Contestation poétique, modernité et métissage. Paris: Syllepse, 2002.

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Ichikyūrokukyū Shinjuku Nishiguchi Chika Hiroba. Tōkyō: Shinjuku Shobō, 2014.

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10

Popular music. New York: Marshall Cavendish Benchmark, 2013.

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Book chapters on the topic "Popular music China History and criticism"

1

Frith, Simon. "Writing about Popular Music." In The Cambridge History of Music Criticism, 502–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.027.

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"Telling the Truth and Commenting Reality: “Harsh Criticism” in Guinea-Bissau’s Intervention Music." In The Routledge History of Social Protest in Popular Music, 349–63. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-33.

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"The Music’s Not All That Matters, After All: British Progressive Rock as Social Criticism." In The Routledge History of Social Protest in Popular Music, 141–59. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-18.

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"Ambushed from All Sides: Rock Music as a Force for Change in China." In The Routledge History of Social Protest in Popular Music, 391–404. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-36.

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Harold, Claudrena N. "Introduction." In When Sunday Comes, 1–16. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043574.003.0001.

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Abstract:
The introduction combines autobiographical reflection with cultural criticism to outline the book’s unique contribution to gospel music history. It recounts the major debates that consumed gospel music insiders as the genre assumed a larger place within mainstream popular culture: Were contemporary gospel artists who experimented with the rhythms of R&B and hip-hop more concerned with selling records than saving souls, and if so, was gospel music on the same path of decline as its secular sibling R&B, which some critics insisted had lost its soul? Did acts like Andraé Crouch, the Winans, and Kirk Franklin really depart from the gospel tradition? Or were they simply following in the steps of their predecessors who had also employed new sounds and technologies to fulfill their evangelical mission?
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