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Routledge Handbook to the Popular Music Cover Song

Nyhet

Vivid Versions and Musical Subjectivities

Inbunden, Engelska, 2026

AvMike Alleyne,Lori Burns

4 769 kr

Kommande

The Routledge Handbook to the Popular Music Cover Song: Vivid Versions and Musical Subjectivities examines histories, contexts, and critical perceptions of cover song practices that manifest in mimetic homages, nuanced reinterpretations, or radical transformations. Aimed at exploring genre variations, gendered and intersectional expressions, political implications, and international dimensions, the analyses collectively interrogate the implicit and explicit meanings of popular music covering and versioning, following a chronological pathway to illuminate evolutionary developments across phonographic history from the 1950s to the present. In 27 chapters, this handbook explores how covers create new ‘vivid’ versions that traverse social and musical boundaries and contexts.By incorporating cross-cultural insights including postcolonial, indigenous, and sign language readings of recorded music texts, the authors foreground reinterpretive power as a vehicle for expanded awareness of under-examined cover contexts. Their goal is to invite reassessment of cover practices and their popular music presence, often by focusing on lesser known vivid versions and their commercial, technological, and compositional rearticulations. The Routledge Handbook to the Popular Music Cover Song: Vivid Versions and Musical Subjectivities is valuable for second through final year students on undergraduate courses devoted to popular music, composition, and production studies, and to postgraduate programs and researchers in a range of fields, including: popular music studies, musicology, creative music performance and composition, songwriting, and music production studies.

Produktinformation

Utgivningsdatum2026-07-20
Mått178 x 254 x undefined mm
Vikt453 g
FormatInbunden
SpråkEngelska
SerieRoutledge Music Handbooks
Antal sidor456
FörlagTaylor & Francis Ltd
ISBN9781032789484

Tillhör följande kategorier

Musikvetenskap inom Kultur
Populärmusik inom Kultur
Musikböcker inom Kultur
Kulturvetenskap inom Samhälle och politik

Mike Alleyne is Professor Emeritus with the Department of Recording Industry, Middle Tennessee State University (MTSU) and a Visiting Professor at the Pop Akademie in Germany. His work has been published in journals such as Popular Music & Society, Rock Music Studies, Popular Music History, Ethnomusicology Forum, and American Music Perspectives.Lori Burns is Professor of Music at the University of Ottawa. Her interdisciplinary research explores representations of gender and sexuality in the lyrical, musical, and visual texts of popular music. She has published articles in journals such as Music Theory Spectrum, Music Theory Online, Popular Music, Popular Music & Society, Music, Sound, and the Moving Image, IASPM@journal, American Music Studies, and Metal Music Studies.

Introduction: The Recorded Song as Vivid TextMike Alleyne and Lori Burns1. The Legacy of Cross-Racial CoversJeremy Orosz 2. Wakon-Beisai: Japanese Versions of “Jailhouse Rock”Elvis Presley (1957); Michiko Hamamura (1957)Akitsugu Kawamoto 3. Gesture, Text, Context: Post-punk and New Wave Interpretations of Early Soul and FunkBarrett Strong, “Money (That’s What I Want)” (1959); The Flying Lizards (1979)James Brown, “Get Up (I Feel Like Being a) Sex Machine” (1970); The Flying Lizards (1984)Tom Attah 4. A Microcosm of Punk Aesthetics: The Residents and Devo “Can’t Get No Satisfaction”The Rolling Stones (1965); The Residents (1976); Devo (1977)John Encarnação 5. “Hey Joe”: A Triad of Black Recorded InterconnectionsJimi Hendrix Experience (1966); Seal (1991); Black Uhuru (1990)Mike Alleyne 6. Voicing Historicity in “Four Women”Nina Simone (1966); Meshell Ndegeocello (2012)Erik Steinskog 7. Two Sides of Motown: “Ain’t No Mountain High Enough”Marvin Gaye and Tammi Terrell (1967); Diana Ross (1970)Jaap Kooijman 8. “Someone Left the Cake Out in the Rain”: Donna Summer’s “MacArthur Park” Cover and Disco ExtravaganzaRichard Harris (1968); Donna Summer (1978)John Howland 9. Black Sabbath: A Legacy in Cover Songs“Black Sabbath” (1970); Thou (2009)“Paranoid” (1970); Kylesa (2015)“Solitude” (1971); Ulver (2007)“Changes” (1972); Charles Bradley (2016)“Sabbath Bloody Sabbath” (1973); The Cardigans (1994)“Symptom of the Universe” (1975); Sepultura (1994)Lori Burns and Patrick Armstrong 10. “Your Song,” My Chords: A Phenomenological Analysis of Ellie Goulding’s CoverElton John, “Your Song” (1970); Ellie Goulding (2010)Pat O’Grady and Alex Chilvers 11. “There is your song from me”: Re-imagining “Blue” Joni Mitchell (1971); Arc Iris (2018)Ivan Tan 12. Pictures at the Mekong Delta: Shaping Mussorgsky into Heavy MetalEmerson, Lake and Palmer (1971); Mekong Delta, “Pictures at an Exhibition” (1996)David Miguel 13. “Can’t You Hear Me?” From Emotional Distress to a Social “SOS”: Portishead’s Version of ABBA’s Hit Song”ABBA, “SOS” (1974); Portishead (2016)Gittit Pearlmutter 14. “Thin Dime Hard Times”: Competing Trajectories of Genre and Authenticity in BluegrassTony Rice “Church Street Blues” (1983); Punch Brothers (2022)Charlie Edholm15. Covering and Commercializing Soca: Transforming the Soundtrack of Carnival into Novelty Pop Tunes Lord Kitchener, “Sugar Bum Bum” (1977); Swamp Dogg (2000)Anslem Douglas, Doggie” (1998); Baha Men, “Who Let the Dogs Out” (2000)Meagan A. Sylvester and Nigel A. Campbell 16. The Ironic Cover Song: “My Sharona” Meets the Alternative ’90sThe Knack (1979); Veruca Salt (1995)Theo Cateforis 17. “Midnight Rider’s Prayer”: Brothers Osborne’s Recontextualization of Willie Nelson’s “On the Road Again” in Post-2020 AmericaWillie Nelson (1980); Brothers Osborne (2022)Victoria Malawey 18. Asserting the Missing Indigenous Voice in “Run to the Hills”Iron Maiden (1982); Tanya Tagaq and Damian Abraham (2018)Karen Fournier 19. Cover Songs & Queer Ontologies: A Case Study on Maxwell’s “This Woman’s Work”Kate Bush (1988); Maxwell (1997) Stephanie Doktor 20. Cover Conceptions and Boundaries: When a Cover Includes Original ArtistsMetallica, “One” (1988); Apocalyptica (2024)Ciro Scotto 21. Alternative’s Alternatives: Radical Reimaginings of “Smells Like Teen Spirit”Nirvana (1991); Tori Amos (1992); Think Up Anger feat. Malia J (2015) Leslie Tilley 22. Friday I’m in Lofi: ASMR Aesthetics and the Gentle Pleasure of Phoebe Bridgers’s Cover of The CureThe Cure, “Friday, I’m in Love” (1992); Phoebe Bridgers (2018)Bronwen McVeigh 23. Who is the Real Femme Fatale? Film Noir, Shifting Perspective, and Performance in “Things Have Changed”Bob Dylan (2000); Bettye LaVette (2018)Katie Kapurch and Jon Marc Smith 24. Silencing Kim: Lingua Ignota’s Transformation of Eminem’s “Kim” Eminem (2000); Lingua Ignota (2020) Olivia Lucas 25. Signing Divas: Sign Language Covers of “Defying Gravity” Idina Menzel and Kristin Chenoweth (2003); Sandra Mae Frank (2017); Rogan Shannon (2021); Amber Zion (2024); Joshua Castille (2024)Anabel Maler 26. Abstract Orchestra Signifyin(g) on Madvillain’s “Meat Grinder”Madvillain (2004); Abstract Orchestra (2019)Ragnhild Brøvig and Alex Stevenson 27. Shades of Heartache and the Aesthetics of Disturbance in “The Limit to Your Love”Feist (2007); James Blake (2010) Kai Arne Hansen