Making New Zealand's Pop Renaissance: State, Markets, Musicians PDF
Preview Making New Zealand's Pop Renaissance: State, Markets, Musicians
Making new Zealand’s PoP Renaissance This page has been left blank intentionally Making new Zealand’s Pop Renaissance state, Markets, Musicians Michael scott Flinders University, Adelaide, Australia © Michael scott 2013 all rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Michael scott name has asserted his right under the copyright, designs and Patents act, 1988, to be identified as the author of this work. Published by ashgate Publishing limited ashgate Publishing company wey court east 110 cherry street Union Road suite 3-1 Farnham Burlington, Vt 05401-3818 surrey, gU9 7Pt Usa england www.ashgate.com British Library Cataloguing in Publication Data a catalogue record for this book is available from the British library The Library of Congress has cataloged the printed edition as follows: scott, Michael, 1971- Making new Zealand’s pop renaissance : state, markets, musicians / by Michael scott. pages cm.– (ashgate popular and folk music series) includes bibliographical references and index. isBn 978-1-4094-4335-3 (hardcover : alk. paper) – isBn 978-1-4094-4336-0 (ebook) – isBn 978-1-4724-0603-3 (epub) 1. Popular music–Political aspects–new Zealand. i. title. Ml3917.n45s36 2013 781.64079’93–dc23 2013011287 isBn 9781409443353 (hbk) isBn 9781409443360 (ebk – PdF) isBn 9781472406033 (ebk – ePUB) V Contents List of Tables vii General Editor’s Preface ix Acknowledgements xi 1 New Zealand’s Pop Renaissance 1 2 The ‘After Neo-liberal Promotional State’ 13 3 The Development of Popular Music Policy 37 4 The State and Popular Music Markets 59 5 Musicians and the State 93 6 Popular Music as Social Policy 117 7 Conclusion: Governing through Popular Culture? 143 Appendix 155 Select Bibliography 159 Index 183 This page has been left blank intentionally List of Tables 4.1 Voluntary targets and New Zealand music content 65 4.2 NZOA funding under Labour 67 4.3 Outward Sound funding 76 This page has been left blank intentionally General Editor’s Preface The upheaval that occurred in musicology during the last two decades of the twentieth century has created a new urgency for the study of popular music alongside the development of new critical and theoretical models. A relativistic outlook has replaced the universal perspective of modernism (the international ambitions of the 12-note style); the grand narrative of the evolution and dissolution of tonality has been challenged, and emphasis has shifted to cultural context, reception and subject position. Together, these have conspired to eat away at the status of canonical composers and categories of high and low in music. A need has arisen, also, to recognize and address the emergence of crossovers, mixed and new genres, to engage in debates concerning the vexed problem of what constitutes authenticity in music and to offer a critique of musical practice as the product of free, individual expression. Popular musicology is now a vital and exciting area of scholarship, and the Ashgate Popular and Folk Music Series presents some of the best research in the field. Authors are concerned with locating musical practices, values and meanings in cultural context, and may draw upon methodologies and theories developed in cultural studies, semiotics, poststructuralism, psychology and sociology. The series focuses on popular musics of the twentieth and twenty-first centuries. It is designed to embrace the world’s popular musics from Acid Jazz to Zydeco, whether high tech or low tech, commercial or non-commercial, contemporary or traditional. Professor Derek B. Scott, Professor of Critical Musicology, University of Leeds, UK
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