Glenn Fosbraey – författare

This book examines how popular music is able to approach subjects of bio-politics, climate change, solastalgia, and anthropomorphisation, alongside its more common diet of songs about love, dancing, and break-ups – all while satisfying its primary remit of being entertaining and listenable.

Nearly a thousand books have been published on bioethics since Van Rensselaer Potter’s Bioethics Bridge to the Future (1971), with a marked increase in the past 20 years. However, not one of these books has focused itself on popular music, something Christopher Partridge describes as ‘central to the construction of [our] identities, central to [our] sense of self, central to [our] well-being and, therefore, central to [our] social relations’. This edited collection examines popular music through a range of topics, from romance to climate change.

Coastal Environments in Popular Song is perfect for students, scholars, and researchers alike interested in bioethics, social history, and the history of music.

This book examines how popular music is able to approach subjects of bio-politics, climate change, solastalgia, and anthropomorphisation, alongside its more common diet of songs about love, dancing, and break-ups – all while satisfying its primary remit of being entertaining and listenable.

Nearly a thousand books have been published on bioethics since Van Rensselaer Potter’s Bioethics Bridge to the Future (1971), with a marked increase in the past 20 years. However, not one of these books has focused itself on popular music, something Christopher Partridge describes as ‘central to the construction of [our] identities, central to [our] sense of self, central to [our] well-being and, therefore, central to [our] social relations’. This edited collection examines popular music through a range of topics, from romance to climate change.

Coastal Environments in Popular Song is perfect for students, scholars, and researchers alike interested in bioethics, social history, and the history of music.

This book is unique in offering practical advice on writing song lyrics within a critically informed framework. Part I provides the theoretical underpinning, while Part II covers the creative process, pulling together all the best songwriting advice and offering practical exercises. 

Fusing creative guidance with rigorous criticism, this is an essential companion for undergraduate and postgraduate students of Songwriting, Creative Writing and Music. Lively and accessible, it is a one-stop shop for all aspiring songwriters.

This book will provide an exploration of how popular songs have been analysed in the past, before detailing how an interdisciplinary approach is necessary to appreciate the multimodal format of the medium. Beginning by examining what we can gain from staying ‘inside’ the song, it will explore the role the listener has in determining meaning within a song, before moving on to how, through their lyrics, songwriters can persuade their audience to react in the desired ways. Lyrical storytelling will also be analysed, in terms of the narratives we find within individual songs, but also through ‘song sequences’ where the story spans multiple songs across different projects, and also the ‘concept album’ format. As we move ‘outside’ the song, we see what can be offered in terms of cultural significance, the difference between real events and their lyrical representations, how the format we listen to music in influences our readings, and to what extent visual materials affect our relationships with songs.

This book will provide an exploration of how popular songs have been analysed in the past, before detailing how an interdisciplinary approach is necessary to appreciate the multimodal format of the medium. Beginning by examining what we can gain from staying ‘inside’ the song, it will explore the role the listener has in determining meaning within a song, before moving on to how, through their lyrics, songwriters can persuade their audience to react in the desired ways. Lyrical storytelling will also be analysed, in terms of the narratives we find within individual songs, but also through ‘song sequences’ where the story spans multiple songs across different projects, and also the ‘concept album’ format. As we move ‘outside’ the song, we see what can be offered in terms of cultural significance, the difference between real events and their lyrical representations, how the format we listen to music in influences our readings, and to what extent visual materials affect our relationships with songs.

This book presents chapters that have been brought together to consider the multitude of ways that post-2000 popular music impacts on our cultures and experiences. The focus is on misogyny, toxic masculinity, and heteronormativity. The authors of the chapters consider these three concepts in a wide range of popular music styles and genres; they analyse and evaluate how the concepts are maintained and normalized, challenged, and rejected. The interconnected nature of these concepts is also woven throughout the book. The book also seeks to expand the idea of popular music as understood by many in the West to include popular music genres from outside western Europe and North America that are often ignored (for example, Bollywood and Italian hip hop), and to bring in music genres that are inarguably popular, but also sit under other labels such as rap, metal, and punk.