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Is there a growing homogenization of the world's popular music? Or, conversely, is there a continuing and perhaps ever increasing diversity of song styles and forms? With a focus is on how the process of popular music production is perceived by local musicians, this book addresses this issue, testing the more conventional `cultural imperialism' hypothesis by comparison with empirical findings from a study by the International Communication and Youth Culture Consortium.Is there a growing homogenization of the world's popular music? Or, conversely, is there a continuing and perhaps ever increasing diversity of song styles and forms? With a focus is on how the process of popular music production is perceived by local musicians, this book addresses this issue, testing the more conventional `cultural imperialism' hypothesis by comparison with empirical findings from a study by the International Communication and Youth Culture Consortium.PART ONE: POPULAR MUSIC AND SOCIETY Popular Music Meanings Industrial Roots PART TWO: NATIONAL CASE STUDIES Popular Music in Peripheral Contexts I Popular Music in Peripheral Contexts II Peripheral Production and the Core Industry PART THREE: MAKING MUSIC ON THE PERIPHERY Everyday Conditions Recording and Publicity Conditions The Musicians and their Music Environment and Creativity PART FOUR: `POPULAR MUSIC AND SOCIETY' REVISITED Further Thoughts on Popular Music Meanings A Critical Response - Simon Frith
![Music at the Margins: Popular Music and Global Cultural Diversity [Hardcover]](/itemImage/2/1/7/5/2_3777779.jpg "Music at the Margins: Popular Music and Global Cultural Diversity [Hardcover]")