frith

Nome/Name
Simon Frith

Formação Académica/ Education
Balliol College, Oxford
BA (lst Class Honours) in Philosophy, Politics and Economics) (1967)
University of California, Berkeley MA (1969) and Ph.D (1976) in Sociology

Actividade Docente e Profissional/Academic Positions and Professional Activities
1972-1987 Warwick University Lecturer and Senior Lecturer in Sociology.

1987-1999
University of Strathclyde Professor and Co-Director of the John Logie Baird Centre for Research in Film, Television and Music.
Professor of English Studies (Department Chair, 1989-1993).
Vice-Dean, Research and Postgraduates, Faculty of Arts and Social Sciences, 1990-96.

1999-2005
Stirling University Professor of Film and Media Studies

2005-
University of Edinburgh Tovey Professor of Music

Visiting chairs in the Graduate School of Communications
, McGill University (1987); Society of Humanities, Cornell University (1991); Faculty of Arts, Carleton University (1992); Department of Journalism, Media and Communication, Stockholm University (1994); Department of Music and Centre for Interdisciplinary Aesthetic Studies, Aarhus University (1996); Department of Music, University of Bologna (2000).

1995-2000
Economic and Social Research Council Director, Media Economics and Media Culture Research Programme.



Publicações seleccionadas/ Selected Publications

Livros/Books

1.
The Sociology of Rock, Constable, 1978, 255p
(translated into Spanish, Danish, German, Italian and Chinese)


2. Sound Effects, Youth, Leisure and the Politics of Rock'n'Roll, Pantheon, 1981, 295 pp.
(translated into Flemish, Slovenian, Finnish and Japanese)


3. (with Howard Horne)
Art into Pop, Methuen, 1987, 206pp.


4. Music for Pleasure, Essays on the Sociology of Pop, Polity, Cambridge and Routledge, New York, 1988, 210pp.
(translated into Italian)

[The essay, ‘Why do songs have words?’ is also included in Christian Kaden and Karsten Mackensen eds
Musiksoziologie, Bärenreiter-Verlag, Kassels, Bael and London, in press/2005.]


5. ed.
Facing the Music. A Pantheon Guide to Popular Culture, Pantheon, New York, 1988 and Mandarin, London, 1989, 225pp.

[My essay 'Picking up the Pieces' is also included (in French) in P.Mignon and A.Hennion,
Rock: de l'histoire au mythe, Paris, Anthropes, 1991.]


6. ed.
World Music, Politics and Social Change, Manchester University Press, 1989, 216 pp.


7. ed. (with Andrew Goodwin)
On Record. Pop, Rock and the Written Word, Pantheon, New York and Routledge, London, 1990, 492pp.


8. ed. (with Andrew Goodwin and Lawrence Grossberg)
Sound and Vision: Music. Video. Television, Routledge, 1993, 215pp.


9. ed. (with Tony Bennett, Lawrence Grossberg and John Shepherd)
Rock and Popular Music: Politics, Policies and Institutions, Routledge, 1993, 292 pp.


10. ed.
Music and Copyright, Edinburgh University Press, 1993, 175 pp.


11. Performing Rites. On the Value of Popular Music , Harvard University Press/Oxford University Press, 1996, 352 pp.


12. ed. (with Will Straw and John Street)
The Cambridge Companion to Rock and Pop, Cambridge University Press, 2001, 303pp.
(translated into Korean)


13. ed.
Popular Music. Critical Concepts in Media and Cultural Studies, Routledge, 2004, 4 volumes, 1632 pp.


14. ed. (with Lee Marshall)
Music and Copyright, Edinburgh University Press/Routledge (USA), 2004, 218pp. [This is a completely new edition of the existing title, with different contributors and all new chapters.]

15.
Taking Popular Music Seriously, Ashgate, 2007, 343 pp.



Artigos/Articles

1. 'Popular Music 1950-1980' in George Martin ed.,
Making Music, F.Muller, 1983, 18-48.

2. 'Art
vs Technology. The Strange Case of Popular Music', Media, Culture and Society 8(3) 1986, 263-280
(translated into Spanish and Finnish)

3. 'The Making of the British Record Industry 1920-1964', in J.Curran, A.Smith and P.Wingate eds.,
Impacts and Influences. Essays on Media Power in the Twentieth Century, Methuen, 1987, 278-290.

4. 'The Industrialisation of Popular Music', in J.Lull ed.,
Popular Music and Communication, Sage, 1987, 53-77.

5. 'The Aesthetics of Popular Music', in R.Leppert and S.McClary eds.,
Music and Society, Cambridge University Press, 1987, 133-149.
(translated into Finnish and Spanish)

6. 'Copyright and the Music Business'
Popular Music 7(1) 1987, 1-19.
(translated into Italian)

7. 'What is Good Music?',
Canadian University Music Review 10(2) 1990, 92-102.

8. 'The Cultural Study of Popular Music', in L.Grossberg at al eds.,
Cultural Studies, Routledge, 1991, 174-186.

9. 'From Beatles to Bros. Twenty-Five Years of British Pop' in N.Abercrombie and D.Warde eds.,
Social Change in Contemporary Britain, Polity, 1992, 40-53.

10. 'Adam Smith and Music',
New Formations 18, 1992, 67-83.

11. 'Representatives of the People: Voices of Authority in Popular Music' in
Mediterranean Music Cultures and their Ramifications, Sociedad Espanola de Musicologia, 1994.

12. 'What is Bad Music?'
Musiken ar 2002 (Rapport nr.11), Kungl. Musikaliska Akademien Stockholm 1994, 3-27.

13. 'Reviving the Folk', Essay Review,
Popular Music 13(3) 1994, 345-353.

14. 'The Academic Elvis' in R.King and H.Taylor eds.
Dixie Debates. Perspectives on Southern Culture, Pluto Press 1996, 99-114.

15. 'Music and Identity' in S.Hall and P.du Gay eds.
Questions of Cultural Identity, Sage 1996, 108-127.

16. 'Entertainment' in J.Curran and M.Gurevitch ed.
Mass Media and Society (2nd edition), Edward Arnold, 1996, 160-176. [revised version in 4th edition, 2000]

17. 'Does Music Cross Boundaries?' in A.Van Hemel ed.,
Trading Culture: GATT, European Cultural Policies and the Transatlantic Market , Boekmanstichting, 1996, 157-163.

18. 'The Suburban Sensibility in British Rock and Pop' in R.Silverstone ed.,
Visions of Suburbia, Routledge, 1996, 269-279.

19. 'Popular Music Policy and the Articulation of Regional Identities: the Case of Scotland and Ireland',
Music in Europe, European Music Office, Bruxelles, September 1996, 98-103.

20. 'Vaerdisporgsmalet inden for populaemusik' in C.Madsen and B.M.Thomsen eds.,
Tidsen Former, Aarhus University Press, 1997, 92-112.

21. 'Shaping the Future'
Finnish Music Quarterly 2/99, 28-30.

22. 'Politics and the Experience of Music',
Sosiologisk arbok 1999, 1-15.

23. ‘La Constitucion de la Musica Rock como Industria Transnacional’, in L.Puig and J.Talens ed.,
Las culturas del rock, Pre-Textos/Fundacion Bancaja (Spain), 1999, 11-30.

24. ‘Research Matters’,
Critical Quarterly 41(3), 1999, 123-129.

25. ‘The Black Box: the Value of Television and the Future of Television Research’,
Screen 41(1), Spring 2000, 33-50. [Also in J.Gripsrud ed.: Sociology and Aesthetics, HoyskoleForlaget/ Norwegian Academic Press, 2000, 109-130.]

26. 'Power and Policy in the British Music Industry' in Howard Tumber ed.,
Media Power, Professionals and Policy, Routledge 2000, 70-83.

27. 'The Discourse of World Music' in Georgina Born and David Hesmondhalgh eds.,
Western Music and Its Other, University of California Press, 2000, 305-322.

28. 'Music Industry Research: Where Now? Where Next? Notes from Britain',
Popular Music 19(3), 2000, 387-393.

29. (with J.Grant, S.Velupillai and L.Hujic) ‘Futurology: Why It’s Still Good to be Young in the Digital Age’, in T.Lees, S.Ralph and J.L.Brown ed.:
Is Regulation Still an Option in a Digital Universe?, University of Luton Press, 2000, 105-125.

30. ‘The Centre Writes Back. A Response to YOUNG’,
YOUNG. Nordic Journal of Youth Research 8(3) 2000, 47-51.

31. ‘Film Music Books: a review article’,
Screen 41(3) 2000, 334-338.

32. ‘Checking the Books: What are Universities for?,
Critical Quarterly 43(1) 2001, 88-93.

33. ‘L’industrializzazione della musica e il problema dei valori’, in J-J Nattiez ed.,
Enciclopedia della musica . Volune primo: Il Novecento, Torina: Einaudi, 2001, 953-965.

34. ‘Note introduttive’, F.D’Amato ed.,
Sound Tracks. Tracce, convergenze e scenari degli studi musicali, Roma: Meltemi, 2001, 11-23.

35. ‘Music and Everyday Life’,
Critical Quarterly 44(1) 2002, 35-48.

36. ‘An Essay on Criticism’, T. Carson, K. Rachlis and J. Salamon eds.,
Don’t Stop ’til You Get Enough. Essays in Honor of Bob Christgau, Austin, Texas: Nortex Press, 2002, 65-69.

37. ‘Illegality and the Music Industry’ in M.Talbot ed.:
The Business of Music, Liverpool University Press, 2002, 195-216.

38. ‘Fragments of a Sociology of Rock Criticism’ in Steve Jones ed.:
Pop Music and the Press, Philadelphia: Temple University Press, 2002, 235-246.

39. ‘Gatherings’ in
NewRoutes. A World of Music from Britain, British Council, 2002, 10-13.

40. ‘Not being Scottish’ in T. Devine and P. Logue eds:
Being Scottish, Edinburgh, Polygon, 2002, 80-82.

41. ‘Look! Hear! The Uneasy Relationship of Music and Television’,
Popular Music 21(3) 2002, 249-262.

42. ‘Globalizaçâo E Fluxo Cultural: O Caso Da Música Rock Anglo-Americana’,
Forum Sociológico, 7/8, 2002, 127-143.

43. ‘Music and Everyday Life’, Martin Clayton, Richard Middleton and Trevor Herbert ed:
The Cultural Study of Music: A Critical Introduction, London and New York: Routledge, 2003, 92-101.

44. ‘Does British music still matter? A reflection on the changing status of British popular music in the global music market’,
European Journal of Cultural Studies, 7(1), 2004, 43-58.

45. ‘“And I guess it doesn’t matter anymore.” European Thoughts on American Music’, Eric Weisbard ed:
This is Pop. In Search of the Elusive at the Experience Music Project, Cambridge MA and London: Harvard University Press, 2004, 15-25.

46. ‘Afterword’ to
After Subculture, edited by Andrew Bennett and Keith Kahn-Harris, Basingstoke and New York: Palgrave Macmillan, 2004, 173-178.

47. ‘Why does music make people so cross?’
and ‘Reply to Gary Ansdell and Bent Jensen’, Nordic Journal of Music Therapy 13(1) June 2004, 66-71, 78-80.

48. (with Martin Cloonan and John Williamson): ‘What is music worth? Some reflections on the Scottish Experience’,
Popular Music, 23 (2), May 2004, 213-221.

49. ‘Reasons to be cheerful. A review essay’,
Popular Music 23 (3), 2004, 363-372.

50. ‘What is bad music?’ Christopher J. Washburne and Maiken Derno ed.
Bad Music, New York and London: Routledge, 2004, 15-36.

51. (with Gillian Doyle)
Methodological Approaches in Media Management and Media Economics Research’, Handbook of Media Management and Economics, edited by A. Albarran, S. Chan-Olmstead and M. Wirth, Mahwah, NJ and London: Lawrence Erlbaum Associates, 2006, 553-572.

52. ‘The Best Disco Record: Sharon Redd: ‘Never Give You Up’’’, Alan McKee ed.,
Beautiful Things in Popular Culture, Oxford: Blackwell, 2007, 193-203.

53. (with Peter Meech) ‘Becoming a journalist: journalism education and journalism culture’,
Journalism 8 (2) 2007, 137-164.

54. ‘La musique
live, ça compte …,’ Reseaux 25 (141-142), 2007, 179-201.

55. ‘Is Jazz Popular Music?’
Jazz Research Journal 1(1) 2007, 7-23.



Relatórios de investigação/Research Reports

1. (with A.Kelly),
Directory of Music Projects, National Federation of Music Projects/Gulbenkian, 1987, 120pp.

2. (with D.Horn),
Popular Music Research in British Higher Education, IASPM (UK), 1990.

3.
Popular Culture, a discussion document for the Arts Council of England and the Scottish Arts Council, 1991, 25pp.

4.
Mapping The Music Industry in Scotland (with M.Cloonan and J.Williamson) for Scottish Enterprise, 2003.

5.
Review of Caber Music (the Scottish jazz label) for Caber and the Scottish Arts Council, 2005.




Outras Publicações/Other Publications

Since 1970 I have written extensively about popular music in various newspapers, magazines, journals, yearbooks and anthologies, notably the
Rock File series, which I edited with Charlie Gillett. In the 1970s I was an editor of the pioneering British rock magazine, Let It Rock and a columnist for New Society, New Statesman, and Melody Maker in Britain and for Creem and the New York Rocker in the USA. (Much of this material is now available on the web archive, Rock’s Backpages.) I was rock critic of the Sunday Times from 1982-1986, and the Observer from 1987-1991, and a music columnist for the New York Village Voice from 1980-1995, and the Scotsman from 1997-2000. I wrote and presented the South Bank Show on Rough Trade Records in 1980, and I have been a regular contributor to BBC Radio 3, Radio 4, and Radio Scotland arts programmes since then, among other things researching and scripting 'Music and Mojo' for the Radio 3 series Twentieth Century Music. Settling the Score, broadcast in June, 1998.

I was consultant on popular music coverage for the latest edition of the
Encyclopaedia Britannica and wrote the core entry on Rock Music.

I contributed the entries on ‘Youth’ and ‘Generation’ to Tony Bennett, Larry Grossberg and Meaghan Morris ed:
New Keywords: A Revised Vocabulary of Culture and Society (Blackwell, 2005)




Publicações no prelo/Publications in Press
Unpublished Papers

1. 'Media Education, Music Education: What Do We Need to Know?’ Keynote Address, Conference on
Teaching Popular Music, Institute of Education, London, May 2000.

2. ‘The Problem of Choice’, British Academy for the Advancement of Science,
Festival of Science, Glasgow, September 2001; Annenberg School for Communication, University of Pennsylvania, Philadelphia March 2005.

3. ‘Why are the Irish more musical than the Scots?’ Research Institute of Irish and Scottish Studies
Popular Culture and National Identity seminar series, Aberdeen University, October 2003

4. ‘Where does cultural theory come from?’
Experts’ Workshop on Current Trends in Cultural Policy Research, Centre for Cultural Policy Research, Glasgow University, November 2003.

5. ‘The Death of Music’, AHRC Postgraduate Conference on Birth, Marriage and Death, Stirling University on May 2005.

6. ‘The myth of the producer’,
First Art of Production Conference, University of Westminster, September 2005.

7. ‘What does the producer do? Towards an analysis of classical music production’,
Second Art of Production Conference, University of Edinburgh, September 2006.

8. ‘Can music progress? Reflections on the history of popular music’,
Evolutions, international postgraduate conference hosted by the School of Literatures, Languages and Cultures at the University of Edinburgh, September 2006.




Outras Actividades/ Other Activities



Edição/Editing

Editor of Popular Music (1979-1996); New Formations (1986-1997); Critical Quarterly (1987- ); Screen (1989- ).

I am presently on the Editorial Advisory Boards of
Chapter and Verse (internet journal of music and literature); Cultural Studies and Critical Methodology; Ethnomusicology Forum; European Journal of Cultural Studies; Journal for the Study of British Culture; Music, Sound and the Moving Image; New Media and Society; New Formations; Parallax; Popular Communication; Popular Music; Popular Musicology Online; and Product (Scottish cultural magazine).


Participação em comités, afiliações/ Committees

Member of the Advisory Board of the National Sound Archive 1983-1997.

Chairman of the
National Federation of Music Projects, 1986-89.

Chairman of the
International Association for the Study of Popular Music, 1989-93

Member of the Board of Directors of
New Music World/Ten Day Weekend, organisers of various musical seminars, performances and events in Glasgow, 1990-1999

Member of the Advisory Board/Board of Directors of the
National Centre for Popular Music, Sheffield, 1991-1999.

Member of the Management Board of the Liverpool University
Institute of Popular Music, 1996-98

Member of the Steering Committee, European Science Foundation Programme,
Changing Media--Changing Europe, 1999-2004.

Associate Advisor for the
British Council in the fields of media studies, film studies, cultural studies, journalism studies and popular music studies, 2000- .

Chair of the Management Committee,
AHRB Research Centre for British Film and Television Studies, 2000-2005.

Chair of the
Scottish Arts Council Creative Scotland Awards Panel, 2000-1.

Member of
SPAN, Scottish Popular Music Academic Network, 2001-

Chair of the Advisory Committee,
Musicworks, the international music and media industry seminar, Glasgow 2002-5.

Chair of the Advisory Committee, Glasgow University
Centre for Cultural Policy Research, 2002- .

Member of the
AHRC Strategic Advisory Group, 2004- .

Member of the
AHRC Peer Review College, 2004- .

Member of the Academic Advisory Board of CHARM,
AHRC Research Centre for the History and Analysis of Recorded Music, 2004- .

Member of Sub-Panel 67 (Music)
RAE2008

I have been Chairman of the Judges of the Mercury Music Prize since it was launched in 1992