Hostname: page-component-586b7cd67f-t7fkt Total loading time: 0 Render date: 2024-12-01T04:09:19.975Z Has data issue: false hasContentIssue false
  • English
  • Français

Some critical tracks

Published online by Cambridge University Press:  11 November 2008

Iain Chambers
Get access Rights & Permissions [Opens in a new window]

Extract

… it is not a question of introducing out of nowhere a science of everyone's individual life, but of innovating and rendering critical an already existing practice. (Antonio Gramsci)

Some years ago the concept of ambiguity was proposed as a central category in the analysis of everyday life. Henri Lefebvre, unorthodox French marxist and sociologist, suggested that precisely there, in the ‘explosive chronicle’ of daily life, it was both possible and necessary to find common ground between what was socially and culturally familiar and its eventual critique (Lefebvre 1958). The study of pop music, although rarely given attention in this context, brings us up immediately against the oscillating tensions of that cultural ambiguity which Lefebvre considered the heart of everyday life.

Type
Research Article
Information
Popular Music , Volume 2 , January 1982 , pp. 19 - 36
Copyright
Copyright © Cambridge University Press 1982

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adorno, T. W. 1971. Introduzione alla sociologia della musica (Turin). Published in English as Introduction to the Sociology of Music (New York, 1976)Google Scholar
Adorno, T.W. 1973. ‘Letters to Benjamin’, New Left Review, 81, pp. 55–80Google Scholar
Adorno, T. W. 1974. ‘Il carattere di feticcio in musica e il regresso dell'ascolto’, in Dissonanza (Milan). Published in English as ‘On the fetish-character in music and the regression of listening’,Google Scholar
in The Essential Frankfurt Reader, ed. Arato, A. and Gebhardt, E. (Oxford, 1978) pp. 270–99Google Scholar
Adorno, T. W. 1978. ‘On the social situation of music’, Telos, 35, pp. 128–64CrossRefGoogle Scholar
Baroni, M. 1980. ‘Musicologia, semiotica e critica musicale’, Musical/Realtà, 2, pp. 29–49Google Scholar
Beckett, A. 1966. ‘Popular music’, New Left Review, 39, pp. 87–90Google Scholar
Beckett, A. 1968. ‘Stones’, New Left Review, 47, pp. 24–9Google Scholar
Beckett, A. 1969. ‘Mapping pop’, New Left Review, 54, pp. 80–4Google Scholar
Benjamin, W. 1970. ‘The work of art in the age of mechanical reproduction’, in Illuminations, transl. Zohn, H., ed. Arendt, H. (London)Google Scholar
Brake, M. 1980. The Sociology of Youth and Youth Culture (London)Google Scholar
Burchil, J. and Parsons, T. 1978. The Boy Looked at Johnny: The Obituary of Rock and Roll (London)Google Scholar
Chambers, I. 1981. ‘Pop music: a teaching perspective’, Screen Education, 39, pp. 35–46Google Scholar
Chester, A. 1970A. ‘For a rock aesthetic’, New Left Review, 59, pp. 83–7Google Scholar
Chester, A. 1970B. ‘Second thoughts on a rock aesthetic: The Band’, New Left Review, 62, pp. 75–82.Google Scholar
Cohn, N. 1969. Pop from the Beginning (London). Published as Awopbopaloobop Altopbamboom (London, 1972)Google Scholar
Eco, U. 1975. Trattato di semitotica generale (Milan). Incorporated within, and published in English,Google Scholar
in A Theory of Semiotics (London, 1977)Google Scholar
Eisen, J. (ed.) 1969). The Age of Rock (New York)Google Scholar
Hall, S. and Jefferson, T. (eds.) 1976). Resistance through Rituals (London)Google Scholar
Hall, S. and Whannel, P. 1964. The Popular Arts (London)Google Scholar
Hebdige, D. 1979. Subculture: The Meaning of Style (London)Google Scholar
Keil, C. 1966. Urban Blues (Chicago)Google Scholar
Laing, D. 1969. The Sound of Our Time (London)Google Scholar
Lefebvre, H. 1958. Critique de la vie quotidiennne. 1: Introduction (Paris). Published in English as Everyday Life in the Modern World (London, 1971)Google Scholar
Lovell, T. 1980. Pictures of Reality (London)Google Scholar
Mabey, R. 1969. The Pop Process (London)Google Scholar
McAllester, D. 1954. Enemy Way Music (Cambridge, Mass.)Google Scholar
McRobbie, A. 1980. ‘Settling accounts with subcultures’, Screen Education, 34, pp. 37–49Google Scholar
Marcus, G. (ed.) 1969. Rock and Roll Will Stand (New York)Google Scholar
Marcus, G. 1977. Mystery Train (London)Google Scholar
Melly, G. 1972. Revolt Into Style (London)Google Scholar
Merriam, A. 1964. The Anthropology of Music (Evanston)Google Scholar
Merton, R. 1968. ‘Comment’, New Left Review, 47, pp. 29–31Google Scholar
Merton, R. 1970. ‘Comment’, New Left Review, 59, pp. 88–96Google Scholar
Middleton, R. 1972. Pop Music and the Blues (London)Google Scholar
Pagnini, M. 1974. Lingua e Musica (Bologna)Google Scholar
Parsons, M. 1968. ‘Rolling Stones’, New Left Review, 49, pp. 85–6Google Scholar
Pousseur, H. 1972. Musique, sémantique, société (Paris)Google Scholar
Stefani, G. 1976. Semiotica della musica (Palermo)Google Scholar
Vulliamy, G. 1980. ‘Definitions of serious music’, in Pop Music in School, ed. Vulliamy, G. and Lee, E. (Cambridge)Google Scholar
Willis, P. 1978. Profane Culture (LondonGoogle Scholar