A Korean translation of Popular Music in Theory by Keith Negus


by homey81


A Korean translation of Keith Negus’s canonical work Popular Music in Theory: An Introduction was out on August 31. The title of the Korean translation is, literally translating, Popular Music Thories: Beyond the theory of culture industry and that of countercultural theory (대중음악이론: 문화산업론과 반문화론을 넘어서). Translated by Hawsook Song et al and published by Matibook.

Table of contents is the same of English version.

Chapter 1 Audiences

Chapter 2 Industries

Chapter 3 Mediations

Chapter 4 Identities

Chapter 5 Histories

Cjapter 6 Geographies

Chapter 7 Politics



Understanding Popular Music (An edited volume in Korean)


A textbook style edited volume about popular music studies was published some months ago. Edited by Chnagnam Kim (Sungkonghoe University), published by Hanul Academy. Only in Korean. Below is the table of contents which has been translated into English by myself.  Please keep in mind that the Romanization of Korean names can be different.

Table of contents

01 Studying Popular Music – Changnam Kim

Part I; The production and reception of popular music

02 Popular music and industry – Jungyup Lee

03 Popular Music and technology – Byung-O Kim

04 Popular music and audience – Dongyeon Lee

Part II Popular Music and Society, Main Issues

05 Poplar music and geography, space and place – Hyunjoon Shin

06 Popular music and generation – Woojin Cha

07 Popular music and politics – Mingap Seojeong

08 Popular music and woman – Jisun Choi

Part III Popular Music Genres and Histories

09 The Beginning of Korean popular music: trot and new folk song – Junhee Lee

10 The formation and change of Korean-styled pop: Standard pop and ballad – Youngmee Lee

11 A Chronology of Korean folk and rock – Aekyung Park

12 ‘Black music’ in South Korea: Soul and hip-hop – Jaeyoung Yang

13 Music to watch, music of body – Eujeong Zhang


01 대중음악 공부하기_김창남

제1부 대중음악의 생산과 수용
02 대중음악과 산업_이정엽
03 대중음악과 테크놀로지: 축음기에서 MP3까지_김병오
04 대중음악과 수용자_이동연

제2부 대중음악과 사회, 주요 논점들
05 대중음악과 지리, 공간, 장소_신현준
06 대중음악과 세대_차우진
07 대중음악과 정치_서정민갑
08 대중음악과 여성_최지선

제3부 대중음악의 주요 장르와 역사
09 한국 대중음악의 출발: 트로트와 신민요_이준희
10 한국식 팝의 형성과 변화: 스탠더드 팝과 발라드_이영미
11 한국 포크와 록의 연대기_박애경
12 한국의 흑인음악: 소울, 그리고 힙합_양재영
13 보는 음악, 몸의 음악: 댄스음악_장유정



Electric Wave, Motion Picture, Television (An edited volume in Japanese)

by homey81


An edited volume on the media history in East Asia during the Postwar/Cold War period. One chapter (chapter 11) is writeen by me and translated by Lee Junghee, which is about the mediation of popular music in South Korea.

The title can be translated into Electric Wave, Motion Picture, Television: Media chains in modern East Asia (probably incorrect) and is edited by Misawa Mamie et al.

Below is the table contents of the book. Sorry it is only in Japanese. Can any native speaker help to translate?


序 三澤真美恵/川島 真/佐藤卓己

第1部 日本

第1章 「教育型」テレビ放送体制の成立 佐藤卓己
1 NHKだけが「教育テレビ」ではない
2 テレビ放送の長い前史
3 「文化国家」のナショナリズム
4 一億総中流意識を生んだ「教育テレビ」
5 民放教育局の消滅と新聞社による系列化

第2章 戦後日本映画史における「満洲」人脈――「視聴覚教育」と東映教育映画の場合 赤上裕幸
1 満鉄出身の「視聴覚教育」編集長・宮永次雄
2 十六ミリのスペシャリスト・赤川孝一
3 満州映画協会から東映教育映画部へ

コラム スポーツ・イベントから見る東アジア 山口 誠

第2部 上海

第3章 上海におけるテレビ放送開始への経緯――中華人民共和国の初期電視事業の一例として 川島 真
1 中国の電視事業
2 上海のテレビ事業の準備段階――一九五六―五七年
3 上海でのテレビ放送開始へ向けて――一九五八年

第4章 上海人民広播電台と新中国のラジオ放送――革命と政治動員 孫安石
1 上海人民広播電台初期の組織と番組――革命を伝播せよ!
2 上海人民広播電台と「人民」の交流――『聴衆服務』番組
3 一九五二年以降の上海人民広播電台――大衆を組織せよ!

第5章 “退廃的音楽”との戦い――抗日戦争後の国民政府による上海レコード業界に対する統制についての分析 葛濤[吉田衣里訳]
1 「敵性レコード」の取り締まり
2 レコードの統制とラジオのコントロールの結合
3 「退廃的音楽」との戦いの始まり――レコードの統制による社会教化の意義
4 「戡乱」と「解放」の際の上海レコード

第3部 台湾・香港・シンガポール

第6章 台湾における初期テレビ史の概況 三澤真美恵
1 台湾におけるテレビ放送のはじまり
2 テレビの普及と影響力の拡大
3 テレビ関連法規と主管機関

第7章 “人々に娯楽を提供し、国民国家を形成する”――シンガポールにおける中国語放送研究について(一九四五―一九六九年) 容世誠/曹世明[森田健嗣/劉嘉芫訳]
1 第二次世界大戦後の放送局とラジオ――「マラヤ放送局」と「麗的呼声」
2 シンガポールのテレビ文化――国民国家形成とアジアネットワーク

第8章 冷戦期南管にみるメディア・地域の相互連関 王櫻芬[片倉健博訳]
1 先行研究と材料
2 ラジオ
3 アモイ語映画

第9章 香港ニューウエーブの始まり――映画産業とテレビ産業の相互関係 卓伯棠[三澤真美恵訳]
1 香港社会と経済状況
2 熾烈な競争下のテレビ産業
3 香港テレビ史上最大の戦い
4 自社制作番組からフィルム制作のドラマシリーズへ
5 許冠文(ルビ:マイケル・ホイ)のコメディーと映画
6 映画とテレビの血縁関係

コラム 戦後の四大台湾語歌謡 貴志俊彦

コラム 二分された戦後香港映画人 貴志俊彦

第4部 韓国・北朝鮮

第10章 ソウルテレビ放送(KBS―TV)初期の組織文化の形成――オーラルヒストリーを通じた韓国放送史の語り直し 白美淑/姜明求/李星旻[小林聡明訳]
1 新しい放送史を構成するためのオーラルヒストリー方法論
2 ラジオ時代のなかでのソウルテレビの開局
3 民間の放送人による国営テレビ開局準備――政治的功績としての開局
4 テレビの機構と職制の開始――制作中心体制から放送管理体制への転換

第11章 家庭という領土の内と外で鳴るサウンド・オブ・ミュージック――冷戦期韓国におけるメディア化された音楽の空間性 申鉉準[李正熙訳]
1 メディアと家庭の領土性――デイヴィッド・モーリーを超えて
2 一九四五年以後の韓国の音楽メディアの歴史
3 アメリカ軍基地によるメディエーション――キャンプショー、AFKN、海賊版レコード
4 全国的マスメディアのメディエーションの形成と発展

第12章 北朝鮮テレビ放送史研究序説――一九六〇―七〇年代を中心に 小林聡明
1 胎動期としての一九六〇年代
2 基盤形成期としての一九七〇年代

コラム 冷戦のメディアとしてのUSIS映画 土屋由香

あとがき 三澤真美恵


New e-book out on music and everyday life

Sounds of the Overground
Selected papers from a postgraduate colloquium on ubiquitous music and music in everyday life

Edited by Nedim Hassan and Holly Tessler

A new e-book published by the International Institute for Popular Culture, University of Turku, Finland. Available at http://iipc.utu.fi/overground/ (direct link) or http://iipc.utu.fi/publications.html

Musical and auditory experiences are frequently central to peoples’ socio-cultural practices within contemporary media-saturated societies. This edited collection features chapters from upcoming scholars who are interested in critically examining such experiences. Showcasing fresh perspectives on the study of music and sound, the eight chapters in this volume adopt research approaches from a range of academic fields including: anthropology; history; philosophy; architectural studies; musicology and cultural studies. Starting from the exploration of the specific roles that music can have for individuals, groups and communities, the chapters in Sounds of the Overground proceed to encompass broader discussions regarding music and nostalgia; place; identity and the philosophical implications of new musical and auditory technologies.

This book will be of value for anyone interested in debates concerning the roles of music and culture in everyday life, including students of popular music, musicology, cultural studies, sociology and media studies.

About the International Institute for Popular Culture:

The International Institute for Popular Culture is a multi-disciplinary research unit, concerned not only with issues in contemporary popular culture but also in its history and transformations. The Institute is committed to pursuing academic excellence in the following areas: popular music, radio, film, and television, new media and information technology, festivals and urban cultures, youth cultures and subcultures, cultural industries, consumption and material culture, sports, stardom and fandom. The Institute is open to methodologies and theoretical insights, but it places special emphasis on the questions of popular culture as heritage and the social role of popular culture.

Kimi Kärki
Phil. Lic., Coordinator
European Heritage, Digital Media and the Information Society,
a European Master’s Programme

Part of EuroMACHS network

School of History, Cultural Research and Art Studies
FIN-20014 University of Turku

Tel: +358-(0)2-333 5890
Fax: +358-(0)2-333 6200

International Institute for Popular Culture:


Inter-Asia Cultural Studies, special issue on popular music

The latest issue of the journal, Inter-Asia Cultural Studies, features “Popular music in Asia.” Of course, many of our members wrote for this issue. Here is what it looks like (Actually I’m not sure if this is the actual cover of this specific issue, but…):


Inter-Asia Cultural Studies, Volume 10 Issue 4 2009
Popular Music

Editorial introduction
Inter-Asia popular music studies: cultural studies of popular music in Asia
Hyunjoon Shin
Pages 471 – 473
DOI: 10.1080/14649370903166077

J-pop: from the ideology of creativity to DiY music culture
Yoshitaka Mōri
Pages 474 – 488
DOI: 10.1080/14649370903166093

The paper examines the development of J-pop under the post-Fordist condition and its ideological formation over the last two decades. J-pop, invented as a fashionable sub-genre by a FM radio station in the late 1980s, expanded its category throughout the 1990s and covers virtually all musical genres for young people in Japan. However, due to the lasting economic recession, the development of digital technology and the transformation of young people’s lifestyle, the record industry faced a serious crisis during the 2000s. The paper explores ideological formations between the success of J-pop and the emergence of freeters’ (young part-time workers) culture in Japan, by focusing on their nationalist sentiment and the idea of creativity, and tries to find a new way of reclaiming ‘creativity’ in DiY (Do it Yourself) music culture today.
Keywords: J-pop; freeter; post-Fordism; nationalism; creativity; DiY culture

Contesting the digital economy and culture: digital technologies and the transformation of popular music in Korea
Jung-yup Lee
Pages 489 – 506
DOI: 10.1080/14649370903166143

This paper examines the changes brought by digital technologies in the cultural economy of music in Korea. First, I look at how digital technologies forced the reorganization of the music industry. The dominant technological mediation of the ‘idol star system’ in the late 1990s gave way to industrial reorganization toward concentration and integration across the information and communications technologies (ICTs) industries and the media/entertainment industries. Second, I discuss how digital technologies impact on the way we experience music. I suggest that digital technologies accelerate personal and social uses of music and contribute to a diversified music culture. Finally, I discuss how the digital culture of music is framed by, and is linked with the industrial rearrangement. I suggest that the ongoing digitalization radically transforms how we conceive the music industry, and renders the nature of music redefined and contested.
Keywords: digital economy and culture; popular music; Korean music industry; intermediation; social networking services; media technology

Have you ever seen the Rain? And who’ll stop the Rain?: the globalizing project of Korean pop (K-pop)
Hyunjoon Shin
Pages 507 – 523
DOI: 10.1080/14649370903166150

This paper explores the globalizing project of Korean pop, focusing on the case of pop star Rain, who attempted to make inroads into the US market around the mid- to late 2000s. As the background of the project, the ‘system’ (or ‘cultures of production’) of the Korean music industry will be examined, including why and how it transforms itself into multi-purpose star management and how it has been making de-nationalized transnational stars. Then, the different reactions from the media and fans to Korean pop stars who crossed the border into a different geocultural market are critically assessed. By doing so, this paper tries to engage in debates about the interrelations between globalization and regionalization in the case of recent Asian popular music.
Keywords: K-pop; Korean Wave; Asian pop; globalization; regionalization

‘Democratic entertainment’ commodity and unpaid labor of reality TV: a preliminary analysis of China’s Supergirl
Miaoju Jian; Chang-de Liu
Pages 524 – 543
DOI: 10.1080/14649370903166382

China’s Supergirl, a popular reality talent show, is fairly similar to American Idol in the sense that it created new forms of media commodities as well as new forms of labor. Because of this, the entertainment industry has been able to generate profits in China’s growing broadcasting and, up to now underdeveloped, music markets. By analyzing both the production and consumption of Supergirl, this paper describes the economic development of reality TV in China. We also analyze how this talent show produced a flexible and localized commodity. This paper suggests that a different perspective is needed in order to understand the ways in which the organizers steer and manipulate the audience participation. Volunteer and unpaid labor is created by promoting the ‘TV Cinderella myth’. Fans and participants are symbolically paid in a form of ‘dream-fulfillment’. People, otherwise accustomed to a Communist regime, are now charmed by a certain amount of apparent democracy that is displayed during the singing contests. This paper coins the above mentioned process as being a specific commodity of ‘democratic entertainment’ in China.
Keywords: reality TV; unpaid labor; democratic entertainment; Supergirl

Me and the dragon: a lyrical engagement with the politics of Chineseness
Yiu Fai Chow
Pages 544 – 564
DOI: 10.1080/14649370903166390

Nationalistic songs are not rare in the pop music tradition of Hong Kong: from the anthemic, heroic-sounding songs as well as sentimental, folkish ballads, generally known as ‘ minzu gequ’, in the 1970s and 1980s, to what I would call the neo-minzu gequ reinvented in trendier R&B or rap numbers during the turn of the century. For me, a cultural studies student and a cultural producer (lyric writer), the power of minzu gequ lies precisely in its tendency to privilege a particular performance of Chineseness by the tactic of excluding the marginal, be they foreign (mostly imperialistic) enemies or domestic dissidents, as well as the possibility of cultural resistance it offers. In 1980 I sang one; in 2005 I penned one. This essay is an inquiry of how ‘I’ have been dealing with issues of Chineseness through the pop lyrics I have created during the ‘re-nationalization’ process of Hong Kong. Employing the tactics of writing against the grain and writing with a twist, I try to trouble dominant narratives on Chineseness. A central theme of this essay is to resist simplicity, to resist certain political or ideological attempts to simplify and nullify complexity into certain dominant narratives – by mobilizing the autobiographical ‘I’, in this case, embodied in the duality of cultural studies student-cum-producer. An autobiographical approach is adopted as a response to two major issues of cultural studies: the danger of theoreticism and the question ‘What do cultural studies do’. This essay is a chronicle of how I, a lyrical writer, try to write what I have read from cultural studies into a cultural product. It is also an occasion to interpellate me, a cultural studies student, to read the product back into cultural studies.
Keywords: nationalistic songs; Chineseness; Cantopop; autobiographical approach; resistance

Taike rock and its discontent
Tung-hung Ho
Pages 565 – 584
DOI: 10.1080/14649370903166408

As popular music is an important means of expression and representation, it is important to consider the social forces that give rise to it and the various extents of these influences. This paper explores generic and discursive practices that have been labelled ‘taike rock’ in Taiwan. In recent years, ‘taike rock’, a generic term brought into use by music industry insiders, journalists and entertainment media, has triggered animated debate. The disputed term tai-ke, literally means ‘Taiwanese guest,’ but in its earliest and original form, as used by those post-1949 mainland Chinese arriving in Taiwan with the KMT regime, the term connoted ethnic discrimination towards native Taiwanese and was used specifically to articulate perceptions of their unsophisticated outlook and behaviour. Recently, however, the commercial forces of the music industry have re-appropriated the term tai-ke to create ‘taike rock’, thereby ascribing new meanings and triggering controversy. In this paper, the phenomenon of taike rock is explored in order to discover the extent to which its newly ascribed meaning renders obsolete the old political and cultural antagonisms between native Taiwanese and ‘Mainlanders’ (i.e. post-1949 immigrants from the Chinese mainland), especially as the trend attracts commercial and media attention. In the process of this examination, the taike phenomenon is then considered to be musically embodied in taike rock, the generic practice of which has given rise to its contested nature. Next, the discursive and performative aspects of taike rock are finally evaluated by looking at a general protest against the corporation Neutron Innovation’s attempt to trademark the term ‘tai-ke’. In discussing this anti-trademark campaign, this paper concludes by bringing up critical issues of cultural identity and creativity in popular music in the face of corporate monopolisation of intellectual property rights.
Keywords: Taike rock; Taiwan’s ethnic politics; music genre and performance; intellectual property

Vedic metal and the South Indian community in Singapore: problems and prospects of identity
Eugene I. Dairianathan
Pages 585 – 608
DOI: 10.1080/14649370903166424

Music – when created, performed and responded to – has been considered somewhat paradoxical because of its simultaneity of location between the individual and the social identities. If this analogy is extended to individual (read local/national) and social (read dominant/global), an own-language popular music intersects with its dominant/global practices rendered through music’s unique characteristic, its porosity. Given that identities are at once tactically and strategically situated and continuously evolving in relation to their situated environments, this porosity generates problems of identifying the local/ity and identity of situated voices. In this paper, I examine the emergence of a local Extreme metal group Rudra who performed their own compositions at the Outdoor Theatre of the Esplanade. Using their emergence at this highly publicised public space and relying on my e-interviews with the group, their privately held material, newspaper articles and local as well as international interviews posted on the group’s website, I consider Rudra’s multiplicity of identities, despite the varying levels of consonance and dissonance of these identities. By situating their practice in the local, and by extension, global (Anglophone dominated) practices, I suggest a consideration of their multiplicity of identities as that emerging through a series of socio-cultural, historical and political processes.
Keywords: Extreme metal; Vedic metal; Rudra; South Indian; music; identity; decentralisation

Visual Essay
Bidesia in Bombay
Surabhi Sharma
Pages 609 – 619
DOI: 10.1080/14649370903166440

Korea Goes Pop by Mark Russell

Pop Goes Korea_cover_small_

A book about Korean pop culture by Mark Russel; Pop Goes Korea : Behind the Revolution in Movies, Music, and Internet Culture (Stone Bridge Press (January 1, 2009).



Korean History: A Primer / Modern Pop Culture / A Note on Korean Language / Acknowledgement

1. The Deal
Saving the Cinema / CJ Entertainment / A Per-History / The Foundation / Making Movies / The Rise of the Multiplex

2. The Blockbuster
Getting Started / First Steps / A Commercial Revolution / Just a Fluke? / Building a Bigger / Blockbuster / A Culture of Hits

3. The Film Festival
Preceding PIFF / Finding a Patron / The First PIFF / From Film Fans to Film Making

4. The Actor and the TV drama
French, Religion, and Other Whims / Making Airwaves-TV Begins in Korea / Trying Out / Out of the Flying Pam / Stepping Up

5. The Music Mogul
Schoolhouse Rock / Living in America / Prelude to a Revolution / The Rise of SM Entertainment

6. The Music Thieve
Cyber Simmering / Let the Sea Make a Noise / Free as a Bird / Going Legit

7. Thin Black Line
Early Cartoons / The Modern Comic Book Era / The Animation Divide / Comic in Internet Age / Artistic License

Waving Goodbye / Pop Goes the World



Although the book is not academic in a narrow sense and the parts about pop music is about two or so, you can get rich information about what is going on Korean cultural industries. A review of the book by the publisher is here, where an interesting remarkis found: “It avoids two dangers:  it does not follow tabloid rumor mills, and it also avoids the impenetrable jargon that has come to dominate ‘culture studies.’  This is a book one can read with great interest.”

About the author’s blog, http://www.koreapopwars.com/.



A Hundred years of Zainichi (Korean minorities in Japan) Music

by homey81


A book about the history of (popular) music by Zainichi – Korean minorities in Japan – was published. The title is A Hundred years of Zainichi Music (Seidosha, 2009.2). The author is An-jong Song  (Song An-jong 宋 安鍾 in East Asian style) who has been teaching at Kanazawa University and one of Korean minorities in Japan himself. Below is the translation of the table of content.


Chapter 1 Searching for ‘Zainichi music’
1. What Zainichi music is
2. Who are Korean Residents in Japan or Zainichi, What is Zainichi music
3. Music(s) called Zainichi as multi-cultural public sphere

Chapter 2 Swining Arirang. Women in-between singing and dancing revolt
1. Could you hear? The song of Arirang
2. Bae Gu-ja, became Shokyokusai’s the first student (1910’s – 1926)
3. Quit the Tenkatsuza and retired from entertainment scene in mainland Japan (1926-27)
4. Bae Gu-ja, traveling with Swinging Arirang (1928-1937)
5. The Beginning of travel without Ending (1937-2003)

Chapter 3 The Age of Hero who were covered all over with wounds: Popular music in Korea and postwar Japan and
1. The Genelogy of Koreans in Japan (Putekyan)
2. The Childhood (1927-43)
3. The Days at Kyosei(Seoul) Dentist School (1943-49)
4. Illegal migration to Japan and the activities in Japanese entertainment scene (1950-60)
5. Going back home and the return to Korean entertainment scene (1960-67)
6. The glory and fall in Korean entertainment scene and the death (1967-95)
7. Are the songs of the refugees from North Korea pulsating in Korean-Japanese music?

Chapter 4 The genealogy of the emerging ‘sons of darkness’: After ‘liberation’ / the second generation who were born after the war and Zainichi music
1. Stars of nisei (the second generation) musicians
2. What should be read from the careers
3. The second generation explored the new fertile field of Zainichi music
4. Cut&mix – the present seen from the songs by the second generation followed one after another

Chapter 5 Where are Korean-Japanese music going to? – Beyond one hundred years
1. New generation musicians emerging one after another
2. The period of ‘diversification’ of identity and ‘Zainichi music’
3. Where is Zainichi music going to?

Reference, Websites, Sounds
Acknowledgement – Postscripts

Below is the table of contents in Japanese original. It would be appreciated if anybody let me know the wrong and incorrect translation.


第Ⅰ章 「在日音楽」 を模索して
1 「在日音楽」 ということば
2 「在日韓国・朝鮮人」、あるいは 「在日」 とは誰か、その音楽とはなにか?
3 多文化公共圏としての 「在日している (諸) 音楽」

第Ⅱ章 スウィングする 「アリラン」、うたい舞い叛逆するはざまの女性
―― 「在日音楽」 の起源を問う
1 聴こえるだろうか? 「アリラン」 のうたは
2 裵龜子、初代松旭斎天勝に弟子入りする(一九一〇年代~一九二六年)
3 天勝座からの脱退と 「内地」 芸能界からの引退(一九二六~二七年)
4 裵龜子、スウィングする 「アリラン」 と旅する(一九二八~三七年)
5 終わりなき旅のはじまり(一九三七~二〇〇三年)
6 裵龜子と 「アリランの唄と踊り」、「在日音楽」 の起源と未来

第Ⅲ章 満身創痍の 「英雄」 たちの時代
―― 韓国・戦後日本の大衆音楽と吉屋潤、そして 「在日音楽」
1 「プテキャン」 の系譜
2 幼少時代(一九二七~四三年)
3 京城歯専時代(一九四三~四九年)
4 戦後日本への密航と日本芸能界での活動(一九五〇~六〇年)
5 帰国と韓国演芸界への復帰(一九六〇~六七年)
6 韓国演芸界での栄達と没落、そして死(一九六七~九五年)
7 越南失郷民のうたは 「在日音楽」 のなかで脈打つか?

第Ⅳ章 立ち上がる 「闇の子供たち」 の系譜
―― 「解放」 後/戦後生まれの 「二世」 たちと 「在日音楽」
1 「二世」 ミュージシャンたちの群星
2 経歴から読みとるべきこと
3 「二世」 たちは新たな 「在日音楽」 の沃野を切り拓く
4 「切れて、繋がる」/Cut&Mix――踵を接する 「二世」 たちのうたにみる現在

第Ⅴ章 「在日音楽」 のゆくえ
―― 一〇〇年を越えて
1 続々と登場する新世代のミュージシャンたち
2 アイデンティティの 「多様化」 の時代と 「在日音楽」
3 「在日音楽」 のゆくえ



Emma Baulch’s book on the rock music scenes in Indonesia


Making Scenes: Reggae, Punk, and Death Metal in 1990s Bali
by Emma Baulch (Duke University Press, December 2007)

In 1996, Emma Baulch went to live in Bali to do research on youth culture. Her chats with young people led her to an enormously popular regular outdoor show dominated by local reggae, punk, and death metal bands. In this rich ethnography, she takes readers inside each scene: hanging out in the death metal scene among unemployed university graduates clad in black T-shirts and ragged jeans; in the punk scene among young men sporting mohawks, leather jackets, and hefty jackboots; and among the remnants of the local reggae scene in Kuta Beach, the island’s most renowned tourist area. Baulch tracks how each music scene arrived and grew in Bali, looking at such influences as the global extreme metal underground, MTV Asia, and the internationalization of Indonesia’s music industry.

Making Scenes is an exploration of the subtle politics of identity that took place within and among these scenes throughout the course of the 1990s. Participants in the different scenes often explained their interest in death metal, punk, or reggae in relation to broader ideas about what it meant to be Balinese, which reflected views about Bali’s tourism industry and the cultural dominance of Jakarta, Indonesia’s capital and largest city. Through dance, dress, claims to public spaces, and onstage performances, participants and enthusiasts reworked “Balinese-ness” by synthesizing global media, ideas of national belonging, and local identity politics. Making Scenes chronicles the creation of subcultures at a historical moment when media globalization and the gradual demise of the authoritarian Suharto regime coincided with revitalized, essentialist formulations of the Balinese self.

“Making Scenes is as good a balance of theoretical innovation, ethnographic observation, and musical ‘scene’ analysis as I have seen in a long time. It is also the best account I have seen of the international circulation of 1990s alternative U.S. rock outside the United States.” -Will Straw, author of Cyanide and Sin: Visualizing Crime in 50s America

“Timely and engaging, Making Scenes is a wonderful and needed contribution to scholarship on Bali, to debates over the relationship between Birmingham School cultural studies and the work of area studies, and to the transnational study of popular music.” – Laurie J. Sears, editor of Knowing Southeast Asian Subjects

Emma Baulch is a Senior Research Associate in the Creative Industries Faculty at the Queensland University of Technology in Brisbane, Australia.

For more information, please visit the publisher’s webpage.

Two books about popular music written in Japanese

by homey81

Two books about popular music written in Japanese.
One is Popular Music and Capitalism by Mouri Yoshitaka and the other is Youth wearing music: The pleasure of putting on and taking off by Koizumi Kyoko. Below are the English translation of the contents of the book.

Popular Music and Capitalism


I. Popular Music and Capitalism
1. The introduction of Marxist Critical Theory
2. The critique of popular music by Adorno
3. The age of rebellion, the age of rock music
4. The critique from popular music studies toward Adornean pessimism

II. The End of the Age of Rock and the Industrialization of Popular Music
1. Popular music under industrialization
2. Japanese popular music in the 1970s
3. Transformation of music industry
4. Fordist mode of production and the year 1968 as its end
5. Post-fordist production system

III. The Tactics of Pop
1. Art into pop
2. Andy Warhol and Velvet Underground
3. The emergence of punk and techno and the end of the end of rock
4. KLF and the consumption of capitalism
5. The tactics of pop in Japanese popular music

IV. Race, Music and Capitalism
1. Race and popular music
2. The category called “the black”
3. Traveling (moving) music, transformed (transcultured) music
4. Black music under double exploitation
5. Against the double exploitation
6. Capitalism and race

V. Political Economy around J-pop
1. Is music really under crisis?
2. The growth of music industry in “bubble economy”
3. The increase of millionsellers and “family-restaurant-ization” of music
4. “Shibuyakei Sound” in the period of the formation (emergence) of J-pop
5. Neo-liberalist and “freeter” period in the 1990s
6. The other side of J-pop and after

VI. Musica Practica
1. Musical Pratica
2. DJ culture and DiY culture
3. Musical Practices in digital age
4. Musical Practices in Fukuoka : music, city, tenshin
5. What is popular music? (reprise)

Youth wearing music: The pleasure of putting on and taking off



Chapter 1 Genealogy of task of Popular Music Studies
1. Crossing the bridge between the inside and outside of school
2. Education and popular music
3. Subcultural studies and popular music
4. Popular music as cultural capital
5. Popular music and gender

Chapter 2 Formal Space
1. Triparted space, intersecting each other
2. Highschool boys in classsroom
3. Highschool girls in classroom
4. Triparted level system of popular music
5. ‘Tactics’ and ‘operation’
6. Brass Band circle

Chapter 3 Semi-formal Space
1. Male members in folksong circle
2. Female members in folksong circle
3. Highschool band events

Chapter 4 Informal Space
1. Male highschool boys who are occupied with “listening”
2. Visual J-rock bands and “cosplay” highschool girls
3. Boys’ band
4. Girls’ band

Chapter 5 Youth wearing on music