| 000 | 04815cam a22006378i 4500 | ||
|---|---|---|---|
| 001 | on1378392452 | ||
| 003 | OCoLC | ||
| 005 | 20230629093719.0 | ||
| 006 | m o d | ||
| 007 | cr ||||||||||| | ||
| 008 | 230328t20232023miu ob 001 0 eng | ||
| 040 |
_aDLC _beng _erda _cDLC _dJSTOR _dYDX _dP@U _dEBLCP _dEYM |
||
| 020 |
_a9780472903627 _q(ebook other) |
||
| 020 | _a0472903624 | ||
| 020 |
_z9780472076284 _q(hardcover) |
||
| 020 |
_z9780472056286 _q(paperback) |
||
| 020 |
_z0472076280 _q(hardcover) |
||
| 020 |
_z047205628X _q(paperback) |
||
| 024 | 7 |
_a10.3998/mpub.12405073 _2doi |
|
| 035 |
_a(OCoLC)1378392452 _z(OCoLC)1376447044 |
||
| 037 |
_a22573/cats3591658 _bJSTOR |
||
| 042 | _apcc | ||
| 050 | 0 | 0 | _aML3790 |
| 082 | 0 | 0 |
_a346.04/82 _223/eng/20230505 |
| 100 | 1 |
_aStanfill, Mel, _d1983- _eauthor. _0http://id.loc.gov/authorities/names/n2018034248 |
|
| 245 | 1 | 0 |
_aRock this way : _bCultural constructions of musical legitimacy / _cMel Stanfill. |
| 246 | 3 | 0 | _aCultural constructions of musical legitimacy |
| 263 | _a2308 | ||
| 264 | 1 |
_aAnn Arbor, Michigan : _bUniversity of Michigan Press, _c2023. |
|
| 300 | _a1 online resource | ||
| 336 |
_atext _btxt _2rdacontent |
||
| 337 |
_acomputer _bc _2rdamedia |
||
| 338 |
_aonline resource _bcr _2rdacarrier |
||
| 500 | _aCourt cases listed in "References" (page 201). | ||
| 504 | _aIncludes bibliographical references (pages 201-221) and index. | ||
| 520 | 3 | _aIn order to analyze how transformative musical works are culturally understood, this book examines how mainstream press discourse talks about them. According to professional journalistic norms, press discussion is supposed to be neutral and balanced. This is, of course, a fiction, because press is to study social power relations, this is a benefit, not a drawback. In particular, norms of explaining "both sides" of an issue mean that a cross section of mainstream thought is available in the press, at the same time that more marginal perspectives are systematically excluded. Moreover, in addition to conveying what the journalist perceives to be a neutral account of a situation, the press helps frame public understanding of issues, thus contributing to making this the default understanding through presenting a hegemonic view as the truth. For these reasons, Stanfill uses press coverage to examine social beliefs circulating widely about transformative musical works. In doing so, she specifically abstracts away from particular journalists and their identities (racial, gender, or others) because, by those same professional norms, individual perspectives are supposed to be suppressed in the name of a (white and masculine) construct of universality. Moreover, an individual journalist presenting an opinion (whether they are aware of doing so or not) is not in itself meaningful, but when there are patterns in opinions across multiple articles, by different people, in different locations and at different moments, they become suggestive of a broader hegemonic formation. | |
| 588 | _aDescription based on print version record and CIP data provided by publisher; resource not viewed. | ||
| 505 | 0 | _aIntro -- Contents -- Acknowledgments -- Introduction: Rock This Way, or the Shape of Musical Norms -- 1. Judge a Song by Its Cover: Cover Songs between Transformation and Extraction -- 2. Stir It Up: Remix and the Problem of Genre -- 3. Monstrous Mash: Mash-Ups and the Epistemology of Difference -- 4. Fight for Your Right to Parody: Parodies and the Cultural Politics of Kindness -- 5. Feels like the First Time: The Politics and Poetics of Similarity in Soundalikes -- Conclusion: Toward a Theory of Ethical Transformative Musical Works -- Data Appendix -- Notes -- References -- Index | |
| 542 |
_fThis work is licensed under the Creative Commons Attribution Non-Commercial-NoDerivatives _uhttps://creativecommons.org/licenses/by-nc-nd/4.0 |
||
| 590 |
_aJSTOR _bBooks at JSTOR Open Access |
||
| 650 | 0 |
_aCopyright _xMusic _zUnited States. |
|
| 650 | 0 |
_aPopular music _xEconomic aspects _zUnited States. |
|
| 650 | 0 |
_aRemixes _xHistory and criticism. |
|
| 650 | 0 |
_aMashups (Music) _xHistory and criticism. |
|
| 650 | 0 |
_aCover versions _xHistory and criticism. |
|
| 650 | 0 |
_aRace discrimination _xLaw and legislation _zUnited States. |
|
| 650 | 0 |
_aAfrican Americans _xMusic _xHistory and criticism. |
|
| 650 | 0 | _aCritical race theory. | |
| 650 | 0 |
_aCreation (Literary, artistic, etc.) _xEconomic aspects _zUnited States. |
|
| 650 | 7 | _aMUSIC / General | |
| 776 | 0 | 8 |
_iPrint version: _aStanfill, Mel, 1983- _tRock this way _dAnn Arbor, Michigan : University of Michigan Press, 2023 _z9780472076284 _w(DLC) 2023004276 |
| 856 | 4 | 0 | _uhttps://www.jstor.org/stable/10.3998/mpub.12405073 |
| 942 |
_2lcc _cE-BOOK |
||
| 994 |
_a92 _bPHURS |
||
| 999 |
_c69425 _d69424 |
||