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The Routledge Companion to Popular Music History and Heritage
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Table of Contents

List of figures, tables and boxes

Notes on contributors

Acknowledgements

1 Framing the field of popular music history and heritage studies
Zelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah Baker PART 1
History and historiography 2 Problematising popular music history in the context of heritage and memory
Bruce Johnson 3 Gendered narratives of popular music history and heritage
Rosa Reitsamer 4 Racialising music's past and the media archive
Nabeel Zuberi 5 Sounding out popular music history: a musicological approach
Richard Elliott 6 Reconstructing the past: popular music and historiography
Steve Waksman 7 Cultural consecration and the creation of canons
Vaughn Schmutz 8 What we did was secret: (one version of) the writing of popular music's histories
Jon Dale 9 Music magazines and the first draft of history
Dave Laing and Catherine Strong 10 Screening popular music's past: music documentary and biopics
Tim Wall and Nicolas Pillai 11 Historiography and the role of the archive
Antti-Ville Karja PART 2
Heritage 12 What is popular music cultural heritage?
Paul Long 13 The politics of popular music heritage
Henry Johnson 14 Local and global intersections of popular music history and heritage
Robert Knifton 15 Popular music heritage and tourism
Brett D. Lashua 16 DIY preservationism and recorded music - saving lost sounds
Andy Bennett 17 `Knowledge of Beatles songs and McCartney parts essential': tribute acts, the music industries and the value of heritage
Shane Homan 18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritage
Catherine Strong PART 3
Memory 19 Popular music and the memory spectrum
Michael Pickering 20 Popular music and autobiographical memory: intimate connections over the life course
Lauren Istvandity 21 Popular music in mediated and collective memory
Ben Green 22 `Do you remember rock `n' roll radio?' How audiences talk about music-related personal memories, preferences, and localities
Amanda Brandellero, Marc Verboord and Susanne Janssen 23 Popular music and commemorative ritual: a material approach
Irene Stengs 24 Songs that resonate: the uses of popular music nostalgia
Arno van der Hoeven 25 Citizen archiving and virtual sites of musical memory in online communities
Jez Collins PART 4
Institutions 26 Representing popular music histories and heritage in museums
Marion Leonard 27 Sound archives, ethnography and sonic heritage
Noel Lobley 28 Popular music halls of fame as institutions of cultural heritage
Raphael Nowak and Sarah Baker 29 DIY institutions and amateur heritage making
D-M Withers 30 Reissue programmes: framing the past as project
Elodie A. Roy PART 5
Case studies 31 Rethinking Indigenous popular music heritage as Australian heritage
Ase Ottosson 32 `Koile, `Te Hua' and the Reggae-fication of cultural heritage
Dan Bendrups, Pip Laufiso and Hiliako Iaheto 33 Bollywood: its histories in India, and beyond
Jayson Beaster-Jones 34 Preserving popular music heritage in Hungary
Emilia Barna 35 The history and heritage of popular Afrikaans music
Schalk van der Merwe 36 Sound archives in West Africa
Graeme Counsel 37 Palestinian popular music: how popular music becomes heritage
Moslih Kanaaneh 38 Phillips' Sound Recording Services: the studio that tourism forgot
Mike Brocken Index

About the Author

Sarah Baker is Professor of Cultural Sociology at Griffith University, Australia. Her books include Community Custodians of Popular Music's Past: A DIY Approach to Heritage (2017) and Preserving Popular Music Heritage: Do-it-yourself, Do-it-together (2015). Catherine Strong is a Senior Lecturer in the Music Industry program at RMIT in Melbourne, Australia. Among her publications are Grunge: Popular Music and Memory (2011), and Death and the Rock Star (2015, edited with Barbara Lebrun). Her research deals with various aspects of memory, nostalgia and gender in rock music, popular culture and the media. She is currently Chair of IASPM-ANZ and co-editor of Popular Music History journal. Lauren Istvandity is a Postdoctoral Research Fellow at Queensland Conservatorium at Griffith University. She has expertise in the fields of music heritage and memory studies, and is currently writing a monograph titled The Lifetime Soundtrack: Music and Autobiographical Memory. Zelmarie Cantillon is an Adjunct Postdoctoral Research Fellow in the Griffith Centre for Social and Cultural Research at Griffith University, Australia. She has contributed book chapters to edited collections including Youth Cultures and Subcultures: Australian Perspectives (2015) and New and Emerging Challenges to Heritage and Well-being (forthcoming), and published articles in Journal of Urban Cultural Studies (2015) and Australian Feminist Studies (2017). Her current research focuses on spatiality, tourism and heritage.

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