Timothy D Taylor
Biographic Data
| ID | 100383 |
|---|---|
| NAME | Timothy D Taylor |
| GIVEN NAMES | Timothy D |
| FAMILY NAME | Taylor |
| SIGNATURE | TAYLOR T D |
| AFFILIATIONS | University of California, Los Angeles |
| ORCID | 0000-0003-4247-6253 |
| VERIFIED | Yes |
| TOTAL WORKS | 30 |
| TOTAL CITATIONS | 164 |
| AUTHOR COUNT | 29 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 6 |
Making Value: Music, Capital, and the Social
In Making Value, Timothy D. Taylor examines how people's conceptions of value inform and shape their production and consumption of music. Drawing on anthropological value theory, Taylor theorizes music's economic and noneconomic forms of value both ethnographically and historically. He covers the creation and exchange of value in a wide range of contexts: indie rock scenes, an Irish traditional music session, the work of music managers, how suppl…
The Oxford Handbook of Economic Ethnomusicology
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title w…
Social Class and the Negotiation of Selling Out in a Southern California Indie Rock Scene
Circulation, Value, Exchange, and Music
Research Article| July 01 2020 Circulation, Value, Exchange, and Music Timothy D. Taylor Timothy D. Taylor UCLA Timothy D. Taylor is a professor in the Department of Ethnomusicology at UCLA. He is the author of numerous articles and books, including: Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), Beyond Exoticism: Western Music and the World (Duke, 2007), The Sounds of Ca…
Music in the World: Selected Essays
The Cambridge World History: Volume 7, Production, Destruction and Connection 1750-Present, Part 2, Shared Transformations?
Since 1750, the world has become ever more connected, with processes of production and destruction no longer limited by land- or water-based modes of transport and communication. Volume 7 of The Cambridge World History, divided into two books, offers a variety of angles of vision on the increasingly interconnected history of humankind. The second book questions the extent to which the transformations of the modern world have been shared, focussin…
Music and Capitalism: A History of the Present
Global Pop: World Music, World Markets
Music in the New Capitalism
This chapter attempts to reinstate capitalism as the transcendent category of analysis for music production. This new capitalism is marked by the ascendance of the new petite bourgeoisie. This class promulgates an ideology of the hip and the cool and has an outsized role in the production of culture, since most musicians today are forced to permit their music to be used in commercials. The new class is comprised of new kinds of cultural workers, …
The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture
Canons, History, Capitalism: Some Mid-Career Reflections
Advertising and the conquest of culture
Thomas Frank's important The conquest of cool: Business culture, counterculture, and the rise of hip consumerism usefully described the advertising industry's “conquest of cool” in the 1960s and beyond, the co-optation of the hip and the cool for the purposes of advertising marketing. This article argues that, since Frank's book appeared, the “convergence of commerce and content” – as the advertising industry calls it – has meant that the product…
On Identity-Contemporary Music Research in the Asia Pacific Region: Introduction
Additional informationNotes on contributorsTimothy D. TaylorTimothy D. Taylor is a professor at the University of California, Los Angeles (Departments of Ethnomusicology and Musicology). In addition to numerous articles on various musics, he is the author of Global Pop: World Music, World Markets(1997), Strange Sounds: Music, Technology and Culture (2001) and Beyond Exoticism: Western Music and the World (2007). He is currently writing a history …
The Changing Shape of the Culture Industry; or, How Did Electronica Music Get into Television Commercials
This article examines the recent changes in the culture industry and demographics that permitted a formerly underground music to enter the mainstream. The demographic shift concerns the group that Pierre Bourdieu calls the “new petite bourgeoisie,” which in the 1980s began to use the music of their youth in commercials, signaling the beginning of the end of the commercial jingle, as well as the stigma that once attached to musicians who permitted…
"The Commodification of Music at the Dawn of the Era of "Mechanical Music
Research Article| April 01 2007 The Commodification of Music at the Dawn of the Era of "Mechanical Music" Timothy D. Taylor Timothy D. Taylor Search for other works by this author on: This Site Google Ethnomusicology (2007) 51 (2): 281–305. https://doi.org/10.2307/20174526 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Timothy D. Taylor; The Commodification of Music at the Dawn of the Era of "Mec…
The Audible Past: Cultural Origins of Sound Reproduction
Book Review| October 01 2006 The Audible Past: Cultural Origins of Sound Reproduction The Audible Past: Cultural Origins of Sound Reproduction, Jonathan Sterne. Timothy D. Taylor Timothy D. Taylor Search for other works by this author on: This Site Google Ethnomusicology (2006) 50 (3): 513–515. https://doi.org/10.2307/20174479 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Timothy D. Taylor; The …
Music and the Rise of Radio in 1920s America: Technological imperialism, socialization, and the transformation of intimacy
The effect of radio cannot be underestimated. It was perhaps the most important electronic technological innovation of the 20th century, at least in the US. It recone gured notions of public and private, helped usher in a new form of the consumer economy, played a large role in the creation of the star system in the entertainment industry, gave the country the e rst mass-media superstar in popular music, Rudy Vallee, and more. While some scholarl…
Berry, Chuck
Oliveros, Pauline
Volans, Kevin
World Music in Television Ads
These days, turn on television and likelihood is that that sounds like world music (that is, nonwestern music) will be trying to sell something, whether a flight on an airplane, a cruise, or an automobile. More often than not, however, these musics are in no way related to any indigenous or traditional practices, but will be entirely composed by either performing musicians or those who work in advertising. These musics usually employ what sounds …
Music, Modernity, and the Global Imagination: South Africa and the West
How do Western images of Africa and African representations of the West mirror each other? In this study, Veit Erlmann seeks to illuminate the complex issues involved in the making of modern identities in Africa, Europe, and the United States, through an examination of two striking episodes in the history of black South African music: the tours of two black South African choirs in England and America in the 1890s, and a series of engagements with…
Living in a postcolonial world: Class and soul in the commitments
Fair use isn't fair’: A response to Sheila Whiteley
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Black Noise: Rap Music and Black Culture in Contemporary America
Global Pop: World Music, World Markets
"The Commodification of Music at the Dawn of the Era of "Mechanical Music
Research Article| April 01 2007 The Commodification of Music at the Dawn of the Era of "Mechanical Music" Timothy D. Taylor Timothy D. Taylor Search for other works by this author on: This Site Google Ethnomusicology (2007) 51 (2): 281–305. https://doi.org/10.2307/20174526 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Timothy D. Taylor; The Commodification of Music at the Dawn of the Era of "Mec…
Music and Capitalism: A History of the Present
Advertising and the conquest of culture
Thomas Frank's important The conquest of cool: Business culture, counterculture, and the rise of hip consumerism usefully described the advertising industry's “conquest of cool” in the 1960s and beyond, the co-optation of the hip and the cool for the purposes of advertising marketing. This article argues that, since Frank's book appeared, the “convergence of commerce and content” – as the advertising industry calls it – has meant that the product…
Music and the Rise of Radio in 1920s America: Technological imperialism, socialization, and the transformation of intimacy
The effect of radio cannot be underestimated. It was perhaps the most important electronic technological innovation of the 20th century, at least in the US. It recone gured notions of public and private, helped usher in a new form of the consumer economy, played a large role in the creation of the star system in the entertainment industry, gave the country the e rst mass-media superstar in popular music, Rudy Vallee, and more. While some scholarl…
Music, Modernity, and the Global Imagination: South Africa and the West
How do Western images of Africa and African representations of the West mirror each other? In this study, Veit Erlmann seeks to illuminate the complex issues involved in the making of modern identities in Africa, Europe, and the United States, through an examination of two striking episodes in the history of black South African music: the tours of two black South African choirs in England and America in the 1890s, and a series of engagements with…
Music in the World: Selected Essays
Circulation, Value, Exchange, and Music
Research Article| July 01 2020 Circulation, Value, Exchange, and Music Timothy D. Taylor Timothy D. Taylor UCLA Timothy D. Taylor is a professor in the Department of Ethnomusicology at UCLA. He is the author of numerous articles and books, including: Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), Beyond Exoticism: Western Music and the World (Duke, 2007), The Sounds of Ca…
His name was in lights: Chuck Berry's 'Johnny B. Goode
Chuck Berry recorded 'Johnny B. Goode' in December 1957 and it has since become one of his best-known songs. The reasons for its lasting popularity are varied, and one of the goals of this article is to elucidate and discuss them. But the main purpose is to raise 'Johnny B. Goode' as an example of the choices and problems Berry faced in his career as an African-American musician in the 1950s and 60s and the ways he dealt with them in this tune
Making Value: Music, Capital, and the Social
In Making Value, Timothy D. Taylor examines how people's conceptions of value inform and shape their production and consumption of music. Drawing on anthropological value theory, Taylor theorizes music's economic and noneconomic forms of value both ethnographically and historically. He covers the creation and exchange of value in a wide range of contexts: indie rock scenes, an Irish traditional music session, the work of music managers, how suppl…
The Changing Shape of the Culture Industry; or, How Did Electronica Music Get into Television Commercials
This article examines the recent changes in the culture industry and demographics that permitted a formerly underground music to enter the mainstream. The demographic shift concerns the group that Pierre Bourdieu calls the “new petite bourgeoisie,” which in the 1980s began to use the music of their youth in commercials, signaling the beginning of the end of the commercial jingle, as well as the stigma that once attached to musicians who permitted…
Living in a postcolonial world: Class and soul in the commitments
Re‐signing Mass Culture: Billy Bragg's “There is Power in a Union”
(1991). Re‐signing Mass Culture: Billy Bragg's “There is Power in a Union”. Popular Music and Society: Vol. 15, No. 2, pp. 33-48
His name was in lights: Chuck Berry's 'Johnny B. Goode
Chuck Berry recorded 'Johnny B. Goode' in December 1957 and it has since become one of his best-known songs. The reasons for its lasting popularity are varied, and one of the goals of this article is to elucidate and discuss them. But the main purpose is to raise 'Johnny B. Goode' as an example of the choices and problems Berry faced in his career as an African-American musician in the 1950s and 60s and the ways he dealt with them in this tune
The Sound of the Avant-Garde
Postmodern Culture - Volume 4, Number 1, September 1993
Black Noise: Rap Music and Black Culture in Contemporary America
Peopling the Stage: Opera, Otherness, and New Musical Representations in the Eighteenth Century
T began my musical career as a teaching assistant my freshman year in college, where the music department needed a couple of students to assist in an introductory music theory course. I remember trying to teach students scales and modes, including the three minor scales. In reviewing the harmonic minor scale before the exam, one of the students clearly experienced some kind of revelation: it's Arabian! he exclaimed. He was referring to the augmen…
Popular Music and Local Identity
Living in a postcolonial world: Class and soul in the commitments
Fair use isn't fair’: A response to Sheila Whiteley
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
World Music in Television Ads
These days, turn on television and likelihood is that that sounds like world music (that is, nonwestern music) will be trying to sell something, whether a flight on an airplane, a cruise, or an automobile. More often than not, however, these musics are in no way related to any indigenous or traditional practices, but will be entirely composed by either performing musicians or those who work in advertising. These musics usually employ what sounds …
Music, Modernity, and the Global Imagination: South Africa and the West
How do Western images of Africa and African representations of the West mirror each other? In this study, Veit Erlmann seeks to illuminate the complex issues involved in the making of modern identities in Africa, Europe, and the United States, through an examination of two striking episodes in the history of black South African music: the tours of two black South African choirs in England and America in the 1890s, and a series of engagements with…
Berry, Chuck
Oliveros, Pauline
Volans, Kevin
Music and the Rise of Radio in 1920s America: Technological imperialism, socialization, and the transformation of intimacy
The effect of radio cannot be underestimated. It was perhaps the most important electronic technological innovation of the 20th century, at least in the US. It recone gured notions of public and private, helped usher in a new form of the consumer economy, played a large role in the creation of the star system in the entertainment industry, gave the country the e rst mass-media superstar in popular music, Rudy Vallee, and more. While some scholarl…
The Audible Past: Cultural Origins of Sound Reproduction
Book Review| October 01 2006 The Audible Past: Cultural Origins of Sound Reproduction The Audible Past: Cultural Origins of Sound Reproduction, Jonathan Sterne. Timothy D. Taylor Timothy D. Taylor Search for other works by this author on: This Site Google Ethnomusicology (2006) 50 (3): 513–515. https://doi.org/10.2307/20174479 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Timothy D. Taylor; The …
The Changing Shape of the Culture Industry; or, How Did Electronica Music Get into Television Commercials
This article examines the recent changes in the culture industry and demographics that permitted a formerly underground music to enter the mainstream. The demographic shift concerns the group that Pierre Bourdieu calls the “new petite bourgeoisie,” which in the 1980s began to use the music of their youth in commercials, signaling the beginning of the end of the commercial jingle, as well as the stigma that once attached to musicians who permitted…
"The Commodification of Music at the Dawn of the Era of "Mechanical Music
Research Article| April 01 2007 The Commodification of Music at the Dawn of the Era of "Mechanical Music" Timothy D. Taylor Timothy D. Taylor Search for other works by this author on: This Site Google Ethnomusicology (2007) 51 (2): 281–305. https://doi.org/10.2307/20174526 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Timothy D. Taylor; The Commodification of Music at the Dawn of the Era of "Mec…
Advertising and the conquest of culture
Thomas Frank's important The conquest of cool: Business culture, counterculture, and the rise of hip consumerism usefully described the advertising industry's “conquest of cool” in the 1960s and beyond, the co-optation of the hip and the cool for the purposes of advertising marketing. This article argues that, since Frank's book appeared, the “convergence of commerce and content” – as the advertising industry calls it – has meant that the product…
On Identity-Contemporary Music Research in the Asia Pacific Region: Introduction
Additional informationNotes on contributorsTimothy D. TaylorTimothy D. Taylor is a professor at the University of California, Los Angeles (Departments of Ethnomusicology and Musicology). In addition to numerous articles on various musics, he is the author of Global Pop: World Music, World Markets(1997), Strange Sounds: Music, Technology and Culture (2001) and Beyond Exoticism: Western Music and the World (2007). He is currently writing a history …
Canons, History, Capitalism: Some Mid-Career Reflections
Music in the New Capitalism
This chapter attempts to reinstate capitalism as the transcendent category of analysis for music production. This new capitalism is marked by the ascendance of the new petite bourgeoisie. This class promulgates an ideology of the hip and the cool and has an outsized role in the production of culture, since most musicians today are forced to permit their music to be used in commercials. The new class is comprised of new kinds of cultural workers, …
The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture
Global Pop: World Music, World Markets
The Cambridge World History: Volume 7, Production, Destruction and Connection 1750-Present, Part 2, Shared Transformations?
Since 1750, the world has become ever more connected, with processes of production and destruction no longer limited by land- or water-based modes of transport and communication. Volume 7 of The Cambridge World History, divided into two books, offers a variety of angles of vision on the increasingly interconnected history of humankind. The second book questions the extent to which the transformations of the modern world have been shared, focussin…
Music and Capitalism: A History of the Present
Art (17 works) · Music History and Culture (15 works) · Sociology (13 works) · History (12 works) · Political science (11 works) · Computer Science (9 works) · Diverse Musicological Studies (8 works) · Law (8 works) · Visual arts (8 works) · History (7 works)