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Peter J. Martin

or another. Finnegan (1989) demonstrated the many ways in which participation in a musicworld’ – even peripherally, and irrespective of the music’s ‘quality’ – could nevertheless provide people with both social and aesthetic satisfactions. Hennion quite explicitly focused on the activities of ‘music lovers’ (2001), while the karaoke enthusiasts studied by Drew, and Bull’s personal-stereo users, were evidently people who had a deep attachment to ‘their’ music, whatever style or genre they preferred. (Indeed, one of the strengths of Bull’s study derives from the

in Music and the sociological gaze
John Williamson and Martin Cloonan

had little obvious impact within the part of the music world with which the Union was most comfortable. Despite a number of periodic claims from the Union and beyond of a crisis in the British music profession, the post-war world of the established orchestras had been largely uninterrupted by either technology or changing public demand. In addition, public subsidy of orchestras via the BBC, Arts Council, and local authorities had increased, with the Labour Government of 1964 particularly keen to increase support for the arts.15 14 15 For a more detailed account

in Players’ work time
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Dominic Johnson

practices in the 1970s include performances as lead singer in the art-concept band Moody and the Menstruators, which started as a prank of sorts in 1973, yet accidentally accrued music-world recognition. Described by Michael Bracewell as ‘alternately feckless, disquieting, funny, cool, without purpose, compelling and clever’, and compared to Gilbert and George, and Bruce McLean’s ‘Nice Style’ Pose Band, the ‘Moodies’ are acknowledged as a key influence on the development of bands including Roxy Music (2007: 261); they performed as a warm-up for Lindsay Kemp’s dance

in Unlimited action
Stephen Greer

-​winning Scottish and international performance, most often at the boundaries of theatre, dance and live art. While The Arches was praised by policy-​makers and funding bodies for its mixed-​economy financial model in which income from live music, world-​class club nights, private commercial hires and a restaurant bar subsidised its performance programme, it was the venue’s dependency on these revenue streams which led to its closure when pressure from Police Scotland relating to drugs-​ related incidents forced the withdrawal of a late alcohol licence. Elsewhere in the UK

in Queer exceptions
Peter J. Martin

’s research is the idea that participation in musical worlds, of whatever style, gives individuals positions in networks of social relationships, thereby linking them to the wider society in various ways. Indeed, her use of the term ‘pathways’ nicely illustrates both an important aspect of the various music worlds which is common to all of them, and the ways in which such culturally established routes relate people ‘both to each other and, through the series of personal networks, institutional links and social ordering of space and time necessarily implicated in each of

in Music and the sociological gaze
A discursive history of French popular music
David Looseley

to the present day, both nationally produced popular musics and imported Anglo-American styles have been conceptualised, classified and argued about by critics, intellectuals and the music world generally. Scholarly histories of French popular music during this period are still rare, while the fairly numerous commercial histories tend to be unproblematised journalistic surveys of styles and genres. I will certainly refer from time to time to the aesthetic characteristics and strategies that cause certain styles and genres to be popular. But I will mainly do so in

in Imagining the popular in contemporary French culture
Stephen Catterall and Keith Gildart

… I would be very grateful to hear from the views of male contributors … on what their reaction is to their female counterparts intruding on their stronghold in our music world. I have met with mixed reaction discussing soul, the pendulum seeming to swing towards the attitude that we females are not expected to know the true soul records.110 While women collectivised to carve out and articulate their space within northern soul, their male counterparts were clearly not always welcoming of their ‘infringement’. Jenny Stretton’s letter indicates 224 CATTERALL

in Keeping the faith
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Kate Bowan and Paul A. Pickering

kind of music world. This period saw the staging of highly popular ballad concert series and cheap performances such as those put on by August Mann at Crystal Palace in 1855. Series, including the London Ballad Concerts, became intertwined with sheet music marketing through ballad catalogues promoted by a growing number of music publishers such as Boosey, Novello, Davidson, Hopwood and Crew, and

in Sounds of liberty