The Bloomsbury Handbook of Popular Music, Space and Place by unknow

Author:unknow
Language: spa
Format: epub
Published: 2022-01-17T11:54:39+00:00

2 In a study relevant to this point, Keir Keightley (1996) explores the way hi-fi music technology and sound was used in the construction of the post-war American home

as a gendered space; in particular the ways music technology and the hi-fi experience

of listening were used by men – aided by marketing and the media – to (re)claim space

within the home and reaffirm masculine identities.

3 In an intriguing article, Schaap and Berkers (2014) explore women’s use of video streaming platforms for ‘vocal covers’ of metal songs, providing valuable insights with

regard to music making, gender, genre and the use of online social media.

4 As an ‘analogue’ example of the latter, one might think of a young Lennon and

McCartney famously sitting together and playing their guitars face to face in their

Liverpool bedrooms to compose the first Beatles hits.

References

Artpool.hu (2003), ‘A harmadik típusú hely archetípusa: A kulturális magántér. Vécsey utca 3.

III. 8.’, retrieved from http://www.artpool.hu/harmas/petrigalla.html.

Baker, S. L. (2004), ‘Pop in(to) the Bedroom. Popular Music in Pre-teen Girls’ bedroom culture’, Cultural Studies, 7 (1): 75–93.

Bannister, M. (2006), White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock, Aldershot and Burlington, VT: Ashgate.

Barna, E. (2017a), ‘A Translocal Music Room of One’s Own: Female Musicians within the

Budapest Lo-Fi Music Scene’, in E. Barna and T. Tófalvy (eds), Made in Hungary: Studies in

Popular Music, 47–57, Abingdon and New York: Routledge.

Barna, E. (2017b), ‘Változás és kontinuitás egy budapesti underground zenei világban a műfaj-

esztétika, ízlés, technológia és alkotómunka viszonyrendszerén keresztül’, Társadalmi

Nemek Tudománya Interdiszciplináris eFolyóirat, 7 (1): 1–21.

Barna, E. (2021), ‘Between Cultural Policies, Industry Structures, and the Household: A

Feminist Perspective on Digitalization and Musical Careers in Hungary’, Popular Music

and Society, 44 (5): DOI: 10.1080/03007766.2021.1984022.

Bayton, M. (1988), ‘How Women Become Musicians’, in S. Frith and A. Goodwin (eds), On

Record, Rock, Pop and The Written Word, 238–57, New York: Pantheon Books.

Björck, C. (2013), ‘A Music Room of One’s Own: Discursive Constructions of Girls-Only

Spaces for Learning Popular Music’, Girlhood Studies, 11 (3): 11–29.

Bourdieu, P. (1977), Outline of a Theory of Practice, Cambridge: Cambridge University Press.

Clawson, M. A. (1999), ‘Masculinity and Skill Acquisition in the Adolescent Rock Band’,

Popular Music, 34 (1): 99–114.

Davies, H. (2010), ‘Music in the Everyday Lives of Young Teenage Girls’, PhD diss., University

of Liverpool.

202

The Bloomsbury Handbook of Popular Music, Space and Place

Davies, H. (2013), ‘Never Mind the Generation Gap? Music Listening in the Everyday Lives of

Young Teenage Girls and Their Parents’, Volume! , 10 (1): 229–47.

DeNora, T. (2000), Music in Everyday Life, Cambridge: Cambridge University Press.

Frith, S. and McRobbie, A. (1978), ‘Rock and Sexuality’, Screen Education 29: 5–18.

Fonarow, W. (2006), Empire of Dirt. The Aesthetics and Rituals of British Indie Music,

Middletown, CT: Wesleyan University Press.

Fox, M. (2004), ‘E-Commerce Business Models for the Music Industry’, Popular Music and

Society, 27 (2): 201–20.

Friedan, B. (1963), The Feminine Mystique. New York: W. W. Norton & Company.

Gavanas, A. and Reitsamer, R. (2016), ‘Neoliberal Working Conditions, Self-Promotion

and DJ Trajectories: A Gendered Minefield’, PopScriptum 12: Sound, Sex und Sexismus,

retrieved from https://www2.hu-berlin.de/fpm/popscrip/themen/pst12/pst12_gavanas_

reitsamer.html.

Groenningsaeter, A. K. (2017), ‘Musical Bedroom: Models of Creative Collaboration in the

Bedroom Recording Studio’, MA diss., Creative Industries Faculty, Queensland University

of Technology.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.