Revisiting the Popular in Music History

This book brings together a significant part of the Derek B. Scott's diverse academic work, showing that the cultural history of music matters not only for the understanding it can bring to the meaning and purpose of music-making, but also because it can play a role in the development of social justice and a democratic culture.

Derek B. Scott is Professor of Critical Musicology (Emeritus) at the University of Leeds. His research field is music, cultural history, and ideology, and his books include Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris, and Vienna (2008), and Musical Style and Social Meaning (2010). He was General Editor of Ashgate's Popular and Folk Music Series for fifteen years, overseeing the publication of more than 140 books between 2000 and 2015.

Introduction PART 1: POPULAR MUSIC AND CULTURAL HISTORY 1. Why the Cultural History of Music Matters 2. Occidentalism, Auto-Orientalism, and Global Fusion in Music 3. Imagining the Balkans, Imagining Europe: The Eurovision Song Contest 4. Irish Nationalism, British Imperialism, and Popular Song PART 2: THE CONTESTED POPULAR 5. Invention and Interpretation in Popular Music Historiography 6. Policing the Boundaries of Art and Entertainment 7. John Clare and Folksong PART 3: POPULAR MUSIC AND MORAL PROPRIETY 8. Bawdy Songbooks of the 1830s 9. Music, Morality, and Rational Amusement in the Victorian Soirée 10. Dance Bands and Moral Propriety in 1920s Britain PART 4: POPULAR MUSIC AND THE STAGE 11. Johann Strauss Jr and Nineteenth-Century Operetta as Intermedial Art World 12. Comic Style and Character Psychology in the Music of Arthur Sullivan 13. Gilbert and Sullivan and Delicate Sexual Matters 14. Music Hall: Regulations and Behaviour in a British Cultural Institution 15. British Musical Comedy in the 1890s: Modernity Without Modernism Bibliography