Framing the field of popular music history and heritage studies

Cantillon, Zelmarie; Strong, Catherine; Istvandity, Lauren; Baker, Sarah

doi:10.4324/9781315299310-1

Cited by 2 publications

(1 citation statement)

References 14 publications

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“…The practice of reissuing previously unavailable library records – originating in collectors’ milieus in the 1990s with the development of CD technology – must also be considered as an important means of disseminating, preserving and re-legitimising it (Adinolfi 2008; Maalsen 2019). Attempts at memorialising and narrating library music cultures have almost exclusively occurred outside of the academic and institutional realm (Trunk 2016; Hollander 2018), even though a reconsideration of library music would profitably expand existing discussions on popular music, memory and the archive (Baker et al 2018).…”

Section: Shadow Archives and The Neglected Heritage Of Library Musicmentioning

confidence: 99%

Under suspicion: library music and the Musicians’ Union in Britain, 1960–1978

Roy

2023

Pop. Mus.

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Drawing primarily from unpublished archival data, this article reconstructs the Musicians’ Union long embargo on library recording in Britain (1965–1978), retracing the immediate as well as long-lasting implications of the ban for the shaping of library music practices and discourses. The article demonstrates how crucial relations with the Union were in shaping the nascent library music industry as well as the working lives of the many individuals and groups involved in it, including London-based session musicians and music publishers. More theoretically, the article argues for a horizontal, ecological approach to library music culture, acknowledging its many intermediaries and prompting us to consider (musical) history in its unfinishedness, heterogeneity and ambiguity. The methodological challenges of researching ephemeral or ‘secondary’ music are also highlighted.

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Section: Shadow Archives and The Neglected Heritage Of Library Musicmentioning

confidence: 99%

Under suspicion: library music and the Musicians’ Union in Britain, 1960–1978

Roy

2023

Pop. Mus.

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‘Well-worn grooves’

Taylor

2020

POMH

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Recorded music, as both aesthetic listening experience, and as material culture, has a deep mnemonic resonance for a great many people. Starting from Csikszentmihalyi's (1993) theorisation on the significance of artefacts in the structuring of 'well-worn grooves' of consciousness, this article considers the biographical function of the metaphorical (and literal) 'well-worn grooves' of music-based artefacts such as records. Building upon existing arguments from material culture studies and popular music studies, this article used excerpts from research interviews with self-identified 'music enthusiasts' to argue that an attentiveness to the complex and intertwined relationships between popular music listening, and it's materiality, presents possibilities for looking beyond a broadly canonic understanding of popular music history, arguing for a greater attentiveness to the richness of the individual music-based biographies as a means of exploring the relationship between popular music and the past

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Framing the field of popular music history and heritage studies

Cited by 2 publications

References 14 publications

Under suspicion: library music and the Musicians’ Union in Britain, 1960–1978

Under suspicion: library music and the Musicians’ Union in Britain, 1960–1978

‘Well-worn grooves’

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