Preserving Popular Music Heritage
Edited by Sarah Baker
Routledge – 2015 – 232 pages
Series: Routledge Research in Music
There is a growing awareness around the world of the pressing need to archive the material remnants of popular music so as to safeguard the national and local histories of this cultural form. Current research suggests that in the past 20 or so years there has been an expansion of DIY heritage practice, with the founding of numerous DIY popular music institutions, archives and museums around the world.
This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around ‘DIY preservationism’, ‘self-authorised’ and ‘unauthorised’ heritage practice and the ‘DIY institution’, while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music’s material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.
Identifying do-it-yourself places of popular music preservation: an introduction Sarah Baker Part One: Unpacking DIY Popular Music Heritage Practice Chapter 1. Noisy neighbours: engagements between DIY popular music heritage practitioners and the professional museum sector Marion Leonard Chapter 2. Valuing popular music heritage: exploring amateur and fan-based preservation practices in museums and archives in the Netherlands Amanda Brandellero, Arno van der Hoeven and Susanne Janssen Chapter 3. Learning ‘on the job’: affect, belonging and communities of practice in DIY archives and museums Sarah Baker Chapter 4. Alternative histories and counter-memories: feminist music archives in Europe Rosa Reitsamer Chapter 5. DIY preservation of punk, post-punk and new wave in Austria Rainer Prokop Chapter 6. White Cliffs of…Nashville?: the British Archive of Country Music Dave Laing Chapter 7. Trading ‘offstage’ photos: Take That fandom, celebrity following and participatory culture Mark Duffet and Anja Löbert Chapter 8. Coming together: Beatles DIY heritage practices in the digital age Stephanie Fremaux Chapter 9. ‘They’re not pirates, they’re archivists’: the role of fans as curators and archivists of popular music heritage Oliver Carter and Jez Collins Chapter 10. When folk music meets popular music: the folk archives project and its stakes Gérôme Guibert and Emmanuel Parent Chapter 11. ‘You rarely hear that on the radio!’: towards a comprehensive catalogue of Maltese music Toni Sant Chapter 12. The contribution of Austrian digital archives to the invention of a national and regional rock-heritage Thomas Herscht Chapter 13. Multiple voices, multiple memories: public history-making and activist archivism in online popular music archives Jez Collins Part Two: Case Studies Chapter 14. Bokoor African Popular Music Archives Foundation: Ghana’s ‘Highlife-Music Institute’ and the need for popular music archiving John Collins Chapter 15. Ketebul Music: retracing and archiving Kenya’s popular music William 'Tabu' Osusa and Billie Odidi Chapter 16. Proyecto Caracas Memorabilia: reconstructing popular music history in Venezuela Coromoto Jaraba Chapter 17. Pompey Pop: documenting Portsmouth’s popular music scene Dave Allen Chapter 18. Victorian Jazz Archive: all that jazz – the making of an archive Jeff Blades Chapter 19. Australian Country Music Hall of Fame: a DIY museum and archive in Australia’s ‘Country Music Capital’ Barrie Brennan Chapter 20. Tonlistarsafn Islands: establishing the Icelandic Music History Museum Bjarki Sveinbjörnsson and Jón Hrólfur Sigurjónsson Chapter 21. Re:Muse-icology: defining a National landscape for the study and preservation of rock and roll’s built heritage in American Sheryl Davis
Sarah Baker is a Senior Lecturer in Cultural Sociology at Griffith University in Queensland, Australia.