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Popular music and postmodern theory Andrew Goodwin a
a
San Francisco State University, USA
Available Available online: 22 Aug 2006
To cite this article: Andrew Goodwin (1991): Popular music and postmodern theory, Cultural Studies, 5:2, 174-190 http://dx.doi.org/10.1080/09502389100490151 //dx.doi.org/10.1080/09502389100490151 To link to this article: http:
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like punk rock before it, encounters extraordinary difficulty in gaining airplay and media exposure precisely because its sounds, as much as its classic modernist tradition, disruptive. It would be interesting to consider in the market-place. For my purpose here, I simply wish to note the
rapprochement rapprochement, t h a t tives. The assertion that modern music culture is moving beyond the 1 1 0 2 r e b o t c O 4 2 3 3 : 1 0 t a ] [ y b d e d a o l n w o D
songs) as an example, along with numerous instances where jazz has been Kronos Quartet as postmodern, but as with Philip Glass, they clearly have
incorporation
release of The Beatles LP Sgt Pepper, o r t h e s u b s e q u e n t f l o w e r i n g o f Cow, Soft Machine, Hatfield and the North) and neo-classical (Emerson,
hibition);
Pictures From An Ex-
orchestras (Deep Purple, Rick Wakeman); the use of poetry and prose
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1 1 0 2 r e b o t c O 4 2 3 3 : 1 0 t a ] [ y b d e d a o l n w o D
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1 1 0 2 r e b o t c O 4 2 3 3 : 1 0 t a ] [ y b d e d a o l n w o D
