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International Association for the Study of Popular Music (IASPM) Book Award 1998

A lively contribution to the debates that are central to popular music studies.

Popular Music in Theory is an original introduction to the key theoretical issues which arise in the study of contemporary popular music. It is organized in a way that shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers. Starting from the dichotomy between production and consumption which characterizes much work on popular culture, Keith Negus explores the equally significant social processes that intervene between and across the production-consumption divide, and examines how popular music is mediated by technological, cultural, historical, geographical, and political factors. This broad framework provides signposts to various tracks taken by sounds and images, and also highlights distinctive theoretical routes into the study of contemporary popular music. Although intended mainly for students in sociology, media and communication studies, and cultural studies, the book will also give others a deeper understanding of popular music.

"An excellent critical introduction to major theoretical issues and debates in the study of contemporary popular music, drawing on illustrative case studies that will be familiar to a wide readership. Clearly written and well argued, the book will be essential reading for students, researchers and teachers." —Sarah Cohen, Institute of Popular Music, University of Liverpool

Table of Contents

• Audiences

• Industry

• Mediations

• Identities

• Histories

• Geographies

• Politics

http://www.goldsmiths.ac.uk/music/staff/negus.php

Keith Negus entered higher education as a mature student, having spent many years playing keyboards and guitar in a variety of bands after leaving school. He gained a degree in Sociology from Middlesex Polytechnic and then completed a PhD study of the acquisition, production and promotion of recording artists at SouthBank Polytechnic. He subsequently taught at the Universities of Leicester and Puerto Rico and was based in the Department of Media and Communications prior to moving the Department of Music at Goldsmiths College. He is a coordinating editor of Popular Music (Cambridge University Press).

Research interests/activities/major awards/prizes/grants

His research engages with all aspects of the production, consumption and mediation of popular music and key debates in cultural theory. He has recently completed research on musicians on television and written a book on the music and musicianship of Bob Dylan. He is currently conducting research on narrative and the popular song.

The Cultural Production of Musical Genres: A Comparative Study.

October 1995 to December 1996, funded by a grant of £66,040 from the Economic and Social Research Council of Great Britain.

Selected publications/performances/recordings:

Books

Bob Dylan, Equinox Publishing. 2008.

Creativity, Communication and Cultural Value. Sage, 2004. Jointly authored with Dr M. Pickering, Loughborough University.

Popular Music Studies, Arnold, 2002. Edited with Dr. David Hesmondhalgh, Open University.

Music Genres and Corporate Cultures. Routledge, 1999 Spanish edition published by Paidós, Barcelona, 2005.

Doing Cultural Studies, The Story of the Sony Walkman. Sage, 1997. Co-authored with Paul du Gay, Stuart Hall, Hugh Mackay, Linda Janes, all Open University

Popular Music in Theory: An Introduction. Polity Press (UK) 1996, and Wesleyan University Press (USA), 1997. Japanese edition published in 2004 by Editions de la roses vents – Suiseisha, Tokyo.

Producing Pop: Culture and Conflict in the Popular Music Industry. Edward Arnold. 1992

Journal articles

‘Living, Breathing Songs: Singing Along With Bob Dylan’, Oral Tradition, Vol 22 No 1 pp71-83.

‘Musicians on Television: Visible, Audible and Ignored’, Journal of the Royal Musical Association. Vol. 131 No 2, 2006, pp310-330.

‘The Work of Cultural Intermediaries and the Enduring Distance Between Production and Consumption’, Cultural Studies, Vol. 16 No 4, 2002, pp501-515.

‘Belonging and Detachment: Musical Experience and the Limits of Identity’, Poetics, Journal of Empirical Research on Culture, the Media and the Arts, Vol. 30, 2002, pp133-145. Co-authored with Dra. Patria Román-Velázquez, City University.

‘Cultural Production and the Corporation: Musical Genres and the Strategic Management of Creativity in the U.S. Recording Industry’, Media, Culture and Society, Vol. 20 No. 3, 1998, pp359-379.

Chapters in books

‘Rethinking Creative Production Away From the Cultural Industries’ in James Curran and David Morley (eds), Media and Cultural Theory, Routledge, 2006.

‘The Business of Rap: Between the Street and the Executive Suite’ in Murray Forman and Mark Anthony Neal (eds), That’s the Joint! The Hip-Hop Studies Reader, Routledge, 2004, pp525-540.

‘Identities and Industries: The Cultural Formation of Aesthetic Economies’ in P. du Gay & M. Pryke (eds) Cultural Economy, Sage, 2002, pp115-131.

‘Music Divisions: The Recording Industry and the Social Mediation of Popular Music’ in J. Curran (Ed) Media Organisations in Society, Arnold, 2000, pp240-254,

'The Production of Culture' in P. du Gay (ed) Production of Culture/ Cultures of Production. Sage, 1997, pp67-118

‘Sinéad O'Connor - Musical Mother' in S. Whitely (ed), Sexing the Groove: Popular Music, Gender and Sexuality. Routledge 1997, pp178-190.

Current PhD students and their fields of study:

Adrian Sledmere – The concept of talent and the music industry.

Richard Witts – A historical study of BBC Music policy with particular reference to Radio 3.