Introduction to the special issue
Lost musical histories—Curating and documenting local popular music-making in the UK
Drawing on different contexts, scenes and histories across the UK, all of the articles in this specialissue suggest that although local popular music histories resonate both positively and negativelywith mainstream narratives, they also have a specificity that is unique to the region. Thiscollection represents an historical snapshot of these expressions and feelings in the UK, highlightingnot just music's importance as a symbolic anchor of locality, but also how the voices ofmusicians, audiences, critics, venues, curators and other music industry stakeholders can forma collective identity, in a series of competing narratives, that are often hidden from mainstreamhistory. The collection displays how these narratives can facilitate community members to considerwho they were, are and want to be, often reflecting on at least two of these parameterssimultaneously. All of the articles focus on the 'lost' history of local music participation, rangingfrom issues surrounding curated history (via exhibitions and re-enactments); influences ofthe built environment on popular music activity; impacts of popular music's past on the community,to the ways in which changing relationships with local music venues reflect both localconcerns and wider trends in popular culture.
Baker, Sarah. 2015. Preserving Popular Music Heritage: Do it Yourself, Do it Together. New York: Routledge. https://doi.org/10.4324/9781315769882
—2018. Community Custodians of Popular Music’s Past: A DIY Approach to Heritage. London: Routledge.
Barker, Hugh, and Yuval Taylor. 2007. Faking It: The Quest for Authenticity in Popular Music. New York: W. W. Norton & Company.
Becker, Howard S. 1963. Outsiders: Studies in the Sociology of Deviance. New York: The Free Press of Glencoe.
—1982. Art Worlds. Berkeley: University of California Press.
Bennett, Andy, and Ian Rogers. 2016. Popular Music Scenes and Cultural Memory. London: Palgrave Macmillan. https://doi.org/10.1057/978-1-137-40204-2
Bourdieu, Pierre 1984. Distinction. English translation by Richard Nice. Cambridge, MA: Harvard University Press.
—1985. ‘The Market of Symbolic Goods’. English translation by Rupert Swyer. Poetics 14/1-2: 13–44. https://doi.org/10.1016/0304-422X(85)90003-8
Brennan, Matt. 2017. When Genres Collide: Down Beat, Rolling Stone, and the Struggle between Jazz and Rock. New York: Bloomsbury Academic. https://doi.org/10.5040/9781501319051
Brocken, Michael. 2010. Other Voices: Hidden Histories of Liverpool’s Popular Music Scenes, 1930s–1970s. London: Routledge.
Burridge, Alan. 2009. Bournemouth Rocks! A Brief History of Rock Music in Bournemouth, Boscombe and Poole 1960–1980. Christchurch: Natula Publications.
Cohen, Sara. 1991. Rock Culture in Liverpool. Oxford: Clarendon Press.
Cook, Terry. 2013. ‘Evidence, Memory, Identity, and Community: Four Shifting Archival Paradigms’. Archival Science 13/2-3: 95–120. https://doi.org/10.1007/s10502-012-9180-7
Crossley, Nick. 2015. ‘Music Worlds and Body Techniques: On the Embodiment of Musicking’. Cultural Sociology 9/4: 471–92. https://doi.org/10.1177/1749975515576585
DeNora, Tia. 1999. ‘Music as a Technology of the Self’. Poetics 27/1: 31–56. https://doi.org/10.1016/S0304-422X(99)00017-0
Finnegan, Ruth. 1989. The Hidden Musicians: Music-Making in an English Town. Cambridge: Cambridge University Press.
Fowler, Charles B. 1970. ‘The Case Against Rock: A Reply’. Music Educators Journal 57/1: 38–42. https://doi.org/10.2307/3392869
Fox, Sidney. 1970. ‘From Rock to Bach (Youth Music on Our Terms)’. Music Educators Journal 56/9: 52–55. https://doi.org/10.2307/3392814
Frith, Simon. 1996. Performing Rites: On the Value of Popular Music. Cambridge, MA: Harvard University Press.
Innes, Peter. 1997. Fit Like, New York? Irreverent History of Rock Music in Aberdeen and North East Scotland. Aberdeen: Aberdeen Journals Limited.
Leonard, Marion, and Robert Knifton. 2015. ‘Introduction: Special Issue on Popular Music and Heritage’. Popular Music History 10/2: 107–12. https://doi.org/10.1558/pomh.33289
Lipsitz, George. 2007. Footsteps in the Dark: The Hidden Histories of Popular Music. Minneapolis: University of Minnesota Press.
Lister, Derek. 1991. Bradford’s Rock ’n’ Roll: The Golden Years (1959–1965). Bradford: Bradford Libraries and Information Service.
MacDonald, Raymond, David Hargreaves and Dorothy Miell. 2002. Musical Identities. Oxford: Oxford University Press.
Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Farnham: Ashgate.
—2002. ‘Authenticity as Authentication’. Popular Music 21/2: 209–23. https://doi.org/10.1017/S0261143002002131
Perrenoud, Marc, and Pierre Battaile. 2017. ‘Artist, Craftsman, Teacher: ‘Being a Musician’ in France and Switzerland’. Popular Music and Society 40/5: 592–604. https://doi.org/10.1080/03007766.2017.1348666
Perrenoud, Marc, and Geraldine Bois. 2017. ‘Ordinary Artists: From Paradox to Paradigm: Variations on a Concept and its Outcomes’. Symbolic Goods 1/1: 2–26.
Sandbrook, Dominic. 2006. White Heat: A History of Britain in the Swinging Sixties. London: Little Brown.
Shank, Barry. 1994. Dissonant Identities. Hanover: Wesleyan University Press.
Stokes, Martin. 1994. Ethnicity, Identity and Music: The Musical Construction on Place. New York: Bloomsbury.
Taylor, Timothy D. 1997. Global Pop: World Music, World Markets. New York and London: Routledge.
Wall, Tim. 2013. Studying Popular Music Culture. London: Sage. https://doi.org/10.4135/9781526401960
Whiteley, Sheila, Andy Bennett and Stan Hawkins, eds. 2004. Music, Space and Place: Popular Music and Cultural Identity. Abingdon: Ashgate.
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