Rock Canon
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€198.40
A01=Carys Wyn Jones
A01=CarysWyn Jones
aesthetic evaluation
Astral Weeks
Author_Carys Wyn Jones
Author_CarysWyn Jones
authority in music
canon formation in rock music
Canonical Values
Category=AVLP
Concept Album
Country Music
cultural hierarchy
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Greatest Albums
Interactive Cd Rom
Kurt Cobain
literary criticism
Lonely Hearts Club Band
Mercury Music Prize
music
musicology
Nascent Canon
Pepper's Lonely Hearts Club
Pepper’s Lonely Hearts Club
Pet Sounds
Popular Music
popular music studies
Popular Musicology
Potential Canon
Rock Albums
Rock Canon
Rock Music
Rock Music Albums
Rock Music Magazines
Rolling Stone
Rolling Stone Illustrated History
Segregated Composition
Sex Pistols
Stone Roses
Product details
- ISBN 9780754662440
- Weight: 498g
- Dimensions: 156 x 234mm
- Publication Date: 19 Sep 2008
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Canons are central to our understanding of our culture, and yet in the last thirty years there has been much conflict and uncertainty created by the idea of the canon. In essence, the canon comprises the works and artists that are widely accepted to be the greatest in their field. Yet such an apparently simple construct embodies a complicated web of values and mechanisms. Canons are also inherently elitist; however, Carys Wyn Jones here explores the emerging reflections of values, terms and mechanisms from the canons of Western literature and classical music in the reception of rock music. Jones examines the concept of the canon as theorized by scholars in the fields of literary criticism and musicology, before moving on to search for these canonical facets in the reception of rock music, as represented by ten albums: Bob Dylan's Highway 61 Revisited, The Beach Boys' Pet Sounds, The Beatles' Revolver, The Velvet Underground's The Velvet Underground & Nico, Van Morrison's Astral Weeks, Marvin Gaye's What's Going On, The Rolling Stones' Exile on Main St., Patti Smith's Horses, The Sex Pistols' Never Mind the Bollocks: Here's the Sex Pistols, and Nirvana's Nevermind. Jones concludes that in the reception of rock music we are not only trying to organize the past but also mediate the present, and any canon of rock music must now negotiate a far more pluralized culture and possibly accept a greater degree of change than has been evident in the canons of literature and classical music in the last two centuries.
Carys Wyn Jones
