Putting Popular Music In Its Place

Charles Hamm

This volume of essays by the distinguished musicologist Charles Hamm focuses on the context of popular music and its interrelationships with other styles and genres, including classical music, the meaning of popular music for audiences, and the institutional appropriation of this music for hegemonic purposes. Specific topics include the use of popular song to rouse anti-slavery sentiment in mid-nineteenth-century America, the reception of such African-American styles and genres as rock ’n’ roll and soul music by the black population of South Africa, the question of genre in the early songs of Irving Berlin, the attempts by the governments of South Africa and China to impose specific bodies of music on their populations, the persistence of the minstrel show in rural twentieth-century America and the impact of modernist modes of thought on writing about popular music.

Bibliographic Details

8 b/w illus. 1 map 4 tables 10 music examples

Contents

• Acknowledgements
• Preface
• 1. Modernist narratives and popular music
• 2. Rock and the facts of life
• 3. Changing patterns in society and music: the US since World War II
• 4. If I Were a Voice: or, the Hutchinson family and popular song as political and social protest
• 5. Some thoughts on the measurement of popularity in music
• 6. Elvis, a review
• 7. Home cooking and American soul in black South African popular music
• 8. Rock n roll in a very strange society
• 9. African-American music, South Africa and apartheid
• 10. The constant companion of man: Separate Development, Radio Bantu and music
• 11. Privileging the moment of reception: music and radio in South Africa
• 12. Music and radio in the Peoples Republic of China
• 13. Towards a new reading of Gershwin
• 14. A blues for the ages
• 15. Graceland revisited
• 16. Dvorak in America: nationalism, racism and national race
• 17. The last minstrel show?
• 18. The Role of Rock, a review
• 19. Genre, performance and ideology in the early songs of Irving Berlin
• 20. Epilogue: John Cage revisited
• Index.