Paper $32.50 ISBN: 9780226738543 Will Publish November 2020
Cloth $100.00 ISBN: 9780226738406 Will Publish November 2020
E-book $32.50 Available for pre-order. ISBN: 9780226738680 Will Publish November 2020

Everyone Loves Live Music

A Theory of Performance Institutions

Fabian Holt

Everyone Loves Live Music

Fabian Holt

344 pages | 18 halftones, 5 tables | 6 x 9 | © 2020
Paper $32.50 ISBN: 9780226738543 Will Publish November 2020
Cloth $100.00 ISBN: 9780226738406 Will Publish November 2020
E-book $32.50 ISBN: 9780226738680 Will Publish November 2020
Every year, millions of music fans come from far and wide to swarm parks and arenas to hear their favorite bands at festivals such as Lollapalooza, Coachella, and Glastonbury. How did these and countless other festivals across the globe evolve into glamorous pop culture events and create powerful ideas about music and public culture? In Everyone Loves Live Music, Fabian Holt looks beyond the slick marketing images to show how festivals and other institutions of musical performance have evolved in recent decades, as part of broader changes in society.

Adopting a critical approach, Holt upends commonly-held ideas of live music and introduces a pioneering theory of performance institutions. He explores the fascinating history of the club and the festival in San Francisco and New York, as well as a number of European cities. These two central institutions of popular music—the club and the festival—are further analyzed within the broader history of music and cultural life in modernity, shedding new light on organized cultural life in capitalism, urban media cultures, and the role of festive events in society. An engaging read for musicians, fans, and scholars alike, Everyone Loves Live Music argues that while live music provides exciting experiences for many people, it also promotes a new ideology of music in neoliberal capitalism.
 
Contents
Chapter 1. Introduction: The Social Study of Musical Performance Institutions
Chapter 2. Conceptualizing Musical Performance Culture

Clubs in Everyday Urban Life

Chapter 3. The Social Study of Music in Cities
Chapter 4. The Commercial Institutionalization of Rock Clubs in New York
Chapter 5. How Did Institutionalization Evolve in Europe?

Music Festivals in the Summer Season

Chapter 6. A Worldview History of Music Festivals
Chapter 7. The Evolution of Anglophone Global Culture
Chapter 8. Three Industry Evolutions That Changed Festival Culture
Chapter 9. New Media, New Festival Worlds
Chapter 10. Conclusion
 
Acknowledgments
Notes
Works Cited
Index
For more information, or to order this book, please visit https://press.uchicago.edu
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