Now in its sixth decade, country music studies is a thriving field of inquiry involving scholars working in the fields of American history, folklore, sociology, anthropology, musicology, ethnomusicology, cultural studies, and geography, among many others. Covering issues of historiography and practice as well as the ways in which the genre interacts with media and social concerns such as class, gender, and sexuality, The Oxford Handbook of Country Music interrogates prevailing narratives, explores significant lacunae in the current literature, and provides guidance for future research. More than simply treating issues that have emerged within this subfield, The Oxford Handbook of Country Music works to connect to broader discourses within the various fields that inform country music studies in an effort to strengthen the area's interdisciplinarity. Drawing upon the expertise of leading and emerging scholars, this Handbook presents an introduction into the historiographical narratives and methodological issues that have emerged in country music studies' first half-century.
By:
Travis D. Stimeling
Imprint: Oxford University Press
Country of Publication: United States
Dimensions:
Height: 175mm,
Width: 249mm,
Spine: 41mm
Weight: 1.157kg
ISBN: 9780190248178
ISBN 10: 0190248173
Series: Oxford Handbooks
Pages: 552
Publication Date: 13 April 2017
Audience:
General/trade
,
ELT Advanced
Format: Hardback
Publisher's Status: Active
"CONTENTS CONTRIBUTORS INTRODUCTION: Situating Country Music Studies Travis D. Stimeling Chapter 1: ""Come Hither to Go Yonder"": The Folklorist's Zigzag Path to Country Music Studies Erika Brady Chapter 2: The ""Southernness"" of Country Music Patrick Huber Chapter 3: The Country Music Association, The Country Music Foundation, and Country Music's History Diane Pecknold Chapter 4: Country Music as Cultural Practice Clifford R. Murphy Chapter 5: Geography and Country Music: Constructing ""Geo-Cultural"" Identities Jada Watson Chapter 6: On the Notion of ""Old-Time"" in Country Music Greg Reish Chapter 7: Country Music and Recording Practice Travis D. Stimeling Chapter 8: The Singing Voice in Country Music Stephanie Vander Wel Chapter 9: This Machine Plays Country Music: Invention, Innovation, and the Pedal Steel Guitar Tim Sterner Miller Chapter 10: Country Music and the Recording Industry Charles L. Hughes Chapter 11: Country Radio: The Dialectic of Format and Genre Eric Weisbard Chapter 12: Country Music and Television Tracey E.W. Laird Chapter 13: Country Music and Film Barry Mazor Chapter 14: The Sociology of Country Music Richard Lloyd Chapter 15: Class in Country Music Leigh H. Edwards Chapter 16: Race in Country Music Scholarship Olivia Carter Mather Chapter 17: Gendered Stages: Country Music, Authenticity, and the Performance of Gender Kristine M. McCusker Chapter 18: Sexuality in Country Music Pamela Fox Chapter 19: On the Sacred in Country Music Stephen Shearon Chapter 20: Goin' Hillbilly Nuts: Fashion Culture and Visual Style in Country Music Caroline Gnagy Chapter 21: Whither the Two-Step: Country Dance Re-Writes Its Musical Lineage Jocelyn R. Neal Chapter 22: ""These Are My People"": The Politics of Country Music Jason Mellard Chapter 23: Country Music and Fan Culture Jonathan Wynn Chapter 24: What's International About International Country Music?: Country Music and National Identity around the World Nathan D. Gibson INDEX"
Travis D. Stimeling is an Assistant Professor of music history at West Virginia University. He has published two previous books with Oxford University Press: Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's Progressive Country Music Scene (2011; paperback ed., 2016) and The Country Music Reader (2014). He served as a Senior Editor for The Grove Dictionary of American Music, 2nd Edition.
Reviews for The Oxford Handbook of Country Music
It might seem surprising that a book on country music is now part of the scholarly 'Oxford Handbooks' series. However, the nature of this book demonstrates that it clearly belongs there. Potential readers might not know what to expect from such a title, but they will find that it provides an informative literature review summarizing the state of research for country music. In his introduction, Stimeling (West Virginia Univ.) states that more thorough research has been done about the early history of country music and that scholarly coverage of its more recent history is marginal compared to that done on rock, pop, and jazz. Stimeling has assembled essays from an impressive group of scholars not only in music but also in fields such as history and folklore. They provide thought-provoking material, much of which has insightful an interdisciplinary perspective. This book is a welcome contribution to serious research on country music. --D. Arnold, University of North Texas, Choice
