Allan Moore is Professor Emeritus of Popular Music and and former Head of the Department of Music and Sound Recording at the University of Surrey, UK. He is series editor of the Ashgate Library of Essays in Popular Music, and author and editor of several books including Song Means (2012), Rock: The Primary Text, Third Edition (2018) and Jethro Tull's Aqualung (2004, part of Bloomsbury's 33 1/3 series).Paul Carr is Professor in Popular Music Analysis at the University of South Wales, UK. His research interests focus on the areas of musicology, widening access, the live music industry and pedagogical frameworks for music related education. He is also an experienced performing musician, having toured and recorded with artists as diverse as The James Taylor Quartet and ex Miles Davis saxophonist Bob Berg. He is the editor of Frank Zappa and the And (2013) and author of Sting (2017).

What is rock? If there is such a thing, is it now dead? If so, why should we care? This book assembles a range of accomplished scholars from across disciplines that offer an impressive insight into the ways in which we might care, detailing how rock has been manifested and understood, attesting to the fact that its academic study, at least, is very much alive. In her chapter, Katherine Reed asks "where are we now?", with answers provided across this volume accounting for how rock has been created, recorded, mediated, taught, managed, performed, filmed, photographed, dramatised and historicised. Amongst other things, the question of “what is rock?” is examined in terms of its global reach and an often problematic relationship with issues of gender, race or ethnicity, which illuminate its contested meanings and practices. Here, then, is a repertoire of ideas and tools that will be of use to established scholars while accessible to a wider readership. Readers, like this one, will find much with which to work or productively disagree, suggesting that this is far from an attempt at a definitive repository of knowledge but one seeking to prompt further thinking and research about the cultural importance of its object. Is rock dead then? Well, as this book reminds us, it is more complicated than that.

• List of Figures List of Tables Notes on Contributors Acknowledgments 1. Introduction: Rock Music’s Emergence, Censorship and Perceived Death (Paul Carr, University of South Wales, UK, and Allan Moore, University of Surrey, UK)PREFATORY 2. Rock Historiography: Music, Artists, Perspectives, and Value (John Covach, University of Rochester, USA)3. Serious Writing About Rock (Sarah Hill, Cardiff University, UK)4. The Definition of ‘Rock’ and Stylistic Overlaps (Taylor Myers, Rutgers University, USA, and Brad Osborn,University of Kansas, USA)PART I. PRACTICE, ANALYSIS AND RECORDING5. Rock Voice (Katherine Meizel, Bowling Green State University, USA)6. The Rock Instrumentarium (Steve Waksman, Smith College, USA)7. Analyzing and Interpreting Song Forms (Ralf von Appen, University of Music and Performing Arts, Austria)8. Convention and Invention in Harmonic and Melodic Theories for Rock Music (Brett Clement, Ball State University, USA)9. Rhythmic and Metric Theorization in Rock Music (Nicole Biamonte, McGill University, Canada)10. Computational Musicology in Rock (Trevor de Clercq, Middle Tennessee State University, USA)11. Function and Construction of Rock Lyrics (Dai Griffiths, Oxford Brookes University, UK)12. Rock Music Engineering and Production (Samantha Bennett, Australian National University, Australia)13. Sonic Space and Texture in Rock (Olivier Julien, Sorbonne University, France)PART II. ROCK THEORIES14. Authenticity, Creativity, Originality (Theodore Gracyk, Minnesota State University Moorhead, USA)15. Categorization: Genre, Style, Idiolect, and Beyond (Nick Braae, Waikato Institute of Technology, New Zealand)16. Personas in Rock: ‘We Will, We Will Rock You’ (Stan Hawkins, University of Oslo and the University of Agder, Norway)17. Rock Hermeneutics (Katherine Reed, California State University Fullerton, USA)18. Narrativity in Rock (Alexander C. Harden, Independent Scholar, UK)19. Sliding Scales and Slippery Slopes: Representations of Autonomy and Mediation in the ‘Radial Mainstream’ of UK-Based Pop/Rock(Damon Minchella, University of South Wales, UK)PART III. ROCK ENVIRONMENTS20. Studio Practice and Organization In Rock Music (Simon Zagorski-Thomas, London College of Music, UK)21. Rock Music Pedagogy in the UK and US: Ignorance or Elitism? (Paul Carr, University of South Wales, UK)22. The Rock Press (Paula Hearsum, University of Brighton, UK, and Martin James, Solent University, UK)23. Rock and Time-Based Visual Media (Laura Niebling, University of Regensburg, Germany)24. Rock in Time-Based Events (Andrew Blake, University of the Arts London, UK)25. Rock Live Performance (Sergio Pisfil, Sorbonne Université, France)26. Marketing and Commodification of Rock (Roy Shuker, Victoria University of Wellington, New Zealand)PART IV. SOCIAL AND CULTURAL ISSUES 27. Rock, Popular Culture and Power: Politics and Policy (Shane Homan, Monash University, Australia)28. Understanding Gender and Sexuality in Rock Music (Lori Burns, University of Ottawa, Canada)29. Race and Racialism in Rock (Jon Stratton, University of South Australia, Australia)30. In the World: Beyond the English-Speaking West (Motti Regev, Open University of Israel, Israel)31. Global Rock as Postcolonial Soundtrack (Jeremy Wallach, Bowling Green State University, USA)32. Rock Music and Place (Geoff Stahl, Victoria University of Wellington, New Zealand)33. Fans and Consumption (Mark Duffett, University of Chester, UK)Bibliography pageIndexpage