This volume gathers together twenty articles from among the best scholarly writing on rock music published in academic journals over the past two decades. These diverse essays reflect the wide range of approaches that scholars in various disciplines have applied to the study of rock, from those that address mainly the historical, sociological, cultural and technological factors that gave rise to this music, to those that focus primarily on analysis of the music itself. This collection of articles, some of which are now out of print or otherwise difficult to access, provides an overview of the current state of research in the field of rock music, and includes an introduction which contributes to the ongoing debate over the distinction (or lack thereof) betweenrock andpop.

part I|204 pages

Histories, Aesthetics and Ideologies

chapter 1|7 pages

Prolegomena to Any Aesthetics of Rock Music

ByBruce Baugh

chapter 7|28 pages

Indie: The Institutional Politics and Aesthetics of a Popular Music Genre

ByDavid Hesmondhalgh

chapter 8|18 pages

When Women Play the Bass

Instrument Specialization and Gender Interpretation in Alternative Rock Music
ByMary Ann Clawson

chapter 9|12 pages

All Singers Are Dicks

ByDeena Weinstein

chapter 10|24 pages

Intimacy and Distance: On Stipe's Queerness

ByFred Maus

part II|258 pages

Sounds, Structures and Styles

chapter 11|20 pages

The melodic-harmonic 'divorce' in rock

ByDavid Temperley

chapter 12|16 pages

Triadic Modal and Pentatonic Patterns in Rock Music

ByNicole Biamonte

chapter 13|32 pages

Transformation in Rock Harmony: An Explanatory Strategy*

ByChristopher Doll

chapter 14|20 pages

The Persona-Environment Relation in Recorded Song

ByAllan F. Moore

chapter 15|36 pages

(Ac)cumulative Form in Pop-Rock Music

ByMark Spicer

chapter 16|17 pages

Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock

BySteve Waksman

chapter 19|25 pages

The Learned vs. The Vernacular in the Songs of Billy Joel

ByWalter Everett

chapter 20|18 pages

Sound, text and identity in Korn's 'Hey Daddy'

ByJonathan Pieslak