TY - BOOK ID - 23013931 TI - Performing rites : on the value of popular music. PY - 1996 SN - 0192880608 9780192880604 9780198163329 0198163320 PB - Oxford : Oxford university press, DB - UniCat KW - -Music and society KW - Music KW - Social aspects KW - Popular music KW - History and criticism KW - Philosophy and aesthetics KW - -#SBIB:309H140 KW - #SBIB:AANKOOP KW - Music and society KW - Music, Popular KW - Music, Popular (Songs, etc.) KW - Pop music KW - Popular songs KW - Popular vocal music KW - Songs, Popular KW - Vocal music, Popular KW - Cover versions KW - Art music KW - Art music, Western KW - Classical music KW - Musical compositions KW - Musical works KW - Serious music KW - Western art music KW - Western music (Western countries) KW - Populaire muziek: algemene werken KW - Popular music - Social aspects KW - Popular music - History and criticism KW - Music - Philosophy and aesthetics KW - -Philosophy and aesthetics UR - https://www.unicat.be/uniCat?func=search&query=sysid:23013931 AB - Who's better? Billie Holiday or P.J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distil our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject and discloses their place at the very centre of the aesthetics that structure our culture and colour our lives. Taking up hundreds of songs and writers, Frith insists on acts of evaluation of popular music as music. Ranging through and beyond the twentieth century, Performing Rites puts the Pet Shop Boys and Puccini, rhythm and lyric, voice and technology, into a dialogue about the undeniable impact of poplar aesthetics on our lives. How we nod our heads or tap our feet, grin or grimace or flip the dial; how we determine what's sublime and what's for real - these are part of the way we construct our social identities, and an essential response to the performance of all music. Frith argues that listening itself is a performance, both social gesture and bodily response. From how they are made to how they are received, popular songs appear here as not only meriting aesthetic judgements but also demanding them, and shaping our understanding of what all music means ER -