This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry. Each chapter highlights a particular theory or method while simultaneously weaving it through a genre of music expressing a notion of alternativity—an explicit positioning of one’s expression outside and counter to the mainstream. Historical Theory and Methods through Popular Music seeks to fill a gap in current scholarship by offering a collection written specifically for the pedagogical and theoretical needs of those interested in the topic.
