Making New Zealand's Pop Renaissance: State, Markets, Musicians

198 Pages·2014·1.382 MB·English

by  Michael Scott

Making new Zealand’s PoP Renaissance
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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
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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
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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