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What is happening to pop music and pop culture? Synthesizers, samplers and MDI systems have allowed anyone with basic computing skills to make music. Exchange is now automatic and weightless with the result that the High Street record store is dying. MySpace, Twitter and You Tube are now more important publicity venues for new bands than the concert tour routine. Unauthorized consumption in the form of illegal downloading has created a financial crisis in the industry. The old postwar industrial planning model of pop, which centralized control in the hands of major record corporations, and divided the market into neat segments, is dissolving in front of our eyes. This book offers readers a comprehensive guide to understanding pop music today. It provides a clear survey of the field and a description of core concepts. The main theoretical approaches to the analysis of pop are described and critically assessed. The book includes a major investigation of the revolutionary changes in the production, exchange and consumption of pop music that are currently underway

This article explores the structure of pop music in Hungary, focusing on social factors under which the music has developed. A distinction is made between the mere existence of a musical idiom and that of the culture built around it. An understanding of this distinction helps explain points of pressure on the pop music industry in Hungary and offers a possible answer to the question of how an inherently anti-authoritarian type of art may develop under the control of authoritarian cultural politics.

This book launches a proposal: to fill some empirical and theoretical gaps that presently exists in populism studies by looking at the potential nexus between populist phenomena and popular culture. It provides a detailed account of the multiple mechanisms linking the production of pop music (as a form of popular culture) to the rise and reproduction of populism. The authors use a case study of Italy to interrogate these mechanisms because of its long-lasting populist phenomena and the contextual importance of pop music. The books mixed-methods strategy assesses three different aspects of the potential relationship between pop music and populist politics: the cultural opportunity structure generated and reproduced by the production of music, the strategies political actors use to exploit music for political purposes, and, crucially, the ways fans and ordinary citizens understand the relationship between pop music and politics, and subsequent debates and identities. Moving from the case study, the book in its last chapter offers a more general understanding of the associations between pop music and populism. Manuela Caiani is Associate Professor in Political Science at the Scuola Normale Superiore of Pisa, Italy. Enrico Padoan is a postdoctoral researcher at the Department of Social, Political and Cognitive Sciences (DISPOC) of the University of Siena, Italy.

1 Populism, Popular Culture and (Pop) Music: An Introduction -- 1.1 Why Study Populism and (Popular) Culture -- 1.2 Music and Politics -- 1.3 (Pop) Music and Populism: 'Mind the Gap' -- 1.4 Populism, Populisms: A Definition (and Its Boundaries) -- 1.5 Populism and (Pop) Music Between Opportunities and Resources: Research Design -- 1.6 Our Case: Italy -- 1.7 Data and Methods -- 1.8 The Content of the Volume -- References -- 2 Populism and (Pop) Music: Multiple Opportunity Structures in Italy -- 2.1 Music-Market Opportunity Structure in Italy -- 2.2 Political Opportunities -- 2.3 Discursive-Cultural Opportunities -- 2.4 Conclusions -- References -- 3 Pop Music and Populist Messages -- 3.1 A Surprising Populist Hype in Contemporary Italian Pop Music -- 3.2 Musicological Group Analysis: 'Playing Italianness in Italian Pop Music' -- 3.3 Conclusions -- References -- 4 The Use of (Pop) Music by Populist Parties -- 4.1 Music at the Lega Events: Building a 'Partisan Culture' Through Music -- 4.2 Music at the 5SM Events: A Different Process of Partisan Culture-Building -- 4.3 Conclusion: Different Populisms, Different Usages of Pop Music -- References -- 5 The Interactions Between Populist Actors and Popular Music in the Public Sphere -- 5.1 Average Italian Fan: Matteo Salvini and the Politicization of His Music Tastes -- 5.2 Salvini Versus Pop Artists: Flattering and Bullying -- 5.3 Pop Music Artists Versus Salvini: Reproducing the Populism/Anti-Populism Divide -- 5.4 Five Star Movement: Too Little Frivolous to Play Pop-Politics in a Credible Way -- 5.5 Between the Political Roles of Singers and Music Appropriation by Politicians: Voices from Experts -- 5.6 Conclusions -- References -- 6 Between Music and Politics: The Reception of ('Populist') Music by Fans and Citizens -- 6.1 'I Like Him Because He Got What He Wanted': Authentic, Rebel, 'Not Political' (i.e. Not Ideological or Partisan) -- 6.2 Pop Artists and Politics in Fans' Daily Lives -- 6.3 Music as a Collective Ritual -- 6.4 "Populists Seek the Vote of Those Listening to This Kind of Music": Cementing the Anti-Populist– Populist Divide Through Pop Music -- 6.5 Music, Politics and Audiences: Conclusion -- References -- 7 Conclusion: Challenges and Opportunities of (Pop) Music for Populism -- 7.1 Music 'as Action': Speaking Out Versus Speaking As -- 7.2 Music as Action: 'Organizing' -- 7.3 Between Music and Politics (in Italy): Towards an Explanation? -- 7.4 Populism and Pop Music: Scientific Added Value and Some Normative Reflections -- References.

Published in Association with the Institute for the Study of Muslim Civilisations and the Aga Khan Music ProgrammeExamines how the making, marketing and performance of new Islamic music genres relate to Islamic discourse and thoughtListen to the Spotify playlist 'The Awakening of Islamic Pop Music', featuring 103 of the songs mentioned in the bookAnalyses the contribution of popular music to the development of contemporary interpretations of IslamUses Awakening as a case study to explore the relationship between Islamic popular music genres and wider Islamic discourseSupported by fieldwork (following tours), content analyses (of songs, videos, promotion material and social media) and interviews (with artists, business people and musicians) Includes new perspectives on celebrity culture among Muslims and its connection with ethical Muslim masculinity Awakening – an Islamic media company formed in London – has created the soundtrack to many Muslim lives during the last two decades. It has produced three superstars (Sami Yusuf, Maher Zain and Harris J.) among a host of other artists. As the company celebrates their first 20 years in the industry, Jonas Otterbeck examines their remarkable rise to success and their established reputation as one of the most important global enterprises producing pop music inspired by Islam.Otterbeck thoroughly describes the history and development of new Islamic popular music genres, in particular pop-nashid and Islamic pop, for the first time. He argues that Awakening – a company with the ambition to portray itself as Islamic – is best understood in relation to the ethical turn in Islamic thinking. In analysing the turn to ethics, he explores how the Islamic pop industry is, in effect, altering the very formulations of Islamic thought. Closely examining the ethical masculinity of the Awakening artists, alongside their personas in songs, on stage and on social media, the book analyses how popular culture and the creative arts challenge Islamic (re)thinking. "

Des recherches récentes aux Etats‐Unis et en Grande‐Bretagne indiquent que l'auditoire adolescent de la musique 'pop' est moins homogène qúon ne le croit en général. D'après elles, des f acteurs tels que la classe sociale de provenance, le groupe ethnique et les expériences scolaires ont tous influencé la façpn dont réagissent les adolescents à la musique pop. Se servant de données canadiennes, ce texte représente un examen approfondi de la relation entre la musique pop et son auditoire composé surtout d'adolescents. On a trouvé que des facteurs comme l'âge, le sexe, la classe sociale et l'intérêt aux études, mais aussi et surtout, les délits commis et avoués, affectent le choix des adolescents dans la musique pop. On examine ensuite les conclusions d'après la formation de groupes de pairs á l'école secondaire.Recent Americian and British research indicates that the adolescent audience for pop music is less homogeneous than is frequently thought. Factors such as social class background, ethnicity, and school experiences have all been found to affect the ways in which adolescents respond to pop music. Using Canadian data, this paper represents a further examination of the relationship between pop music and its largely adolescent audience. The findings indicate that factors such as age, sex, social class, and commitment to school and, particularly, self‐reported delinquency, affected adolescent tastes in pop music. The findings are then discussed in terms of peer group formation in secondary schools.

From Face to Mask: Introduction -- The Double Persona: Pop Subject and Mask -- The Immobile Face: Coolness -- The Backside of the Mask: Anonymity -- The Mask as Logo: Style Community and Series -- Me and No Mask: Unmaskings -- The Immobile Face II: Mask and Death -- Femininity Instead of Masquerade: Countergendered Masks -- Conclusion: From Face to Mask to Avatar?

The development of technology, the economic system, and the culture of new music, has caused the Balinese pop music to be industrialized since 1990s. The existence of many recording studios and musicians (composers, singers, and music players) and many other related products all over Bali has also contributed to this. Through the recording products, various types of direct performances and so forth have caused the Balinese pop music to be the commodity of the capitalistic pop culture which is preferred by society. Such industrialization is formed by the power of media (musicians), capitalistic power (the capital owner such as the producer/recording studio owner), and the power of media. This present study was conducted in order to identify the phenomenon of one of three powers in such industrialization, namely, the power of media, especially television. The result of the study shows that the power of television media in the industrialization of the Balinese pop music is the resource which contributes to the distribution of products which are produced for the market or the prospective market in Bali. The television studio which plays the greatest role is the Bali TV. It was established in 2002, namely, the year when the political decentralization in Indonesia started, following the reformation era which started in 1998. Through the regional autonomy, the ethnical local cultures in Indonesia, including the Balinese pop music, were empowered. The Bali TV with "Ajeg Bali" as its ideology has what is called "Klip Bali", "Tembang Bali" (100% local)", and "Samatra Artis Bali" programs. The viewers from all over Bali like such programs very much. The more often they are presented (viewed and listened to), the more the Balinese pop music products obtain the promotional and marketing value. A great number of products, including the Balinese pop music, are continuously introduced to the society. The power of media has developed into capitalism and the Balinese community has become the object of its consumption.