Chapter: Genre, Subjectivity and Back-up Singing in Rock Music

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Home > The Ashgate Research Companion to Popular Musicology > Genre, Subjectivity and Back-up Singing in Rock Music

The Ashgate Research Companion to Popular Musicology |

Derek B. Scott

Routledge

The Ashgate Research Companion to Popular Musicology

Genre, Subjectivity and Back-up Singing in Rock Music

Chapter Info

Authors

Susan Fast

ARI Id

1666177717893_14974150

Access

Not Available Free

Pages

189-206

DOI

10.4324/9781315613451-16

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Chapters/Headings	Author(s)	Pages	Info
Introduction	Derek B. Scott	19-40
PART 1 Film, Video and Multimedia		41-42
Trevor Jones’s Score for In the Name of the Father	David Cooper	43-60
Music, Sound and the Moving Image: The Present and a Future?	Anahid Kassabian	61-76
Reinventing Question Time	Miguel Mera	77-102
Televised Live Performance, Looping Technology and the ‘Nu Folk’: KT Tunstall on Later … with Jools Holland	John Richardson	103-120
PART 2 Technology and Studio Production		121-122
Learning to Listen to Perfect Sound: Hi-fi Culture and Changes in Modes of Listening, 1950–80	Alf Björnberg	123-148
Approaches to Analysing Recordings of Popular Music	Timothy Warner	149-164
The Art of Phonography: Sound, Technology and Music	Peter Wicke	165-186
PART 3 Gender and Sexuality		187-188
Genre, Subjectivity and Back-up Singing in Rock Music	Susan Fast	189-206
Notes on Musical Camp	Freya Jarman-Ivens	207-222
Who Are You? Research Strategies of the Unruly Feminine	Sheila Whiteley	223-238
‘I’m a Man’: Masculinities in Popular Music	Jason Lee Oakes	239-258
PART 4 Identity and ethnicity		259-260
The Woven World: Unravelling the Mainstream and the Alternative in Greek Popular Music	Kevin Dawe	261-276
Dayton Street Funk: The Layering of Multiple Identities	Portia K. Maultsby	277-300
Black, White and Brown on the Dance Floor: The New Meanings of Panjabiyat in the Twenty-first Century	Anjali Gera Roy	301-318
PART 5 Performance and Gesture		319-320
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