Charles Anderton
Biographic Data
| ID | 1541618 |
|---|---|
| NAME | Charles Anderton |
| GIVEN NAMES | Charles |
| FAMILY NAME | Anderton |
| SIGNATURE | ANDERTON C |
| AFFILIATIONS | Southampton Solent University |
| ORCID | 0000-0003-0835-3989 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Alone in the Crowd? Live Music Audiences and Individual Experience
Academic inquiries into the motivations and experiences of live music audiences have typically focused on the communal and social experience of concerts and festivals, whereas the experience of individual concertgoers has been relatively unexplored, especially in popular music contexts. In this article, qualitative interviews and focus groups were undertaken with self-declared progressive rock fans to understand their often-individualised engagem…
(Going) for the One: Progressive Rock Fandom as Mea Cultura
In this article, we focus on music fandom related to the band Yes, one of progressive rock’s most enduring legacy acts. Drawing on primary research interviews and focus groups, we argue that progressive rock fandom should be characterized as a largely private pursuit where the relationship between fans and their music is paramount. This relationship, and its associated listening practices, are viewed as an ongoing resource and life-long attachmen…
Reconfiguring Genre, Style, and Idiolect: Investigating Progressive Rock’s Meta-Genre and Affordances
In this article, the relationship between the classificatory terms of genre, style, and idiolect is examined. Focusing on progressive rock – noted for its heterogenous nature – I propose that we should adapt our current understanding of idiolect to encompass both the collective idiolects associated with particular bands, and the personal idiolects of musicians that perform in them. Allan F. Moore has previously argued that for some progressive ro…
Researching Live Music: Gigs, Tours, Concerts and Festivals
From Woodstock to Glastonbury to the Isle of Wight: The Role of Festival Films in the Construction of the Countercultural Carnivalesque
This article examines the narrative construction of two British music festival films, Message to Love: the Isle of Wight Festival (1995) and Glastonbury Fayre (1972): films which demonstrate narratives and techniques familiar from Woodstock – Three Days of Peace and Music (1970). I argue that these films, which portray the 1970 Isle of Wight Festival and the 1971 Glastonbury Fayre, have helped to construct and reinforce what I refer to as the “co…
Music Festivals in the UK: Beyond the Carnivalesque
The outdoor music festival market has developed and commercialised significantly since the mid-1990s, and is now a mainstream part of the British summertime leisure experience. The overall number of outdoor music festivals staged in the UK doubled between 2005 and 2011 to reach a peak of over 500 events. UK Music (2016) estimates that the sector attracts over 3.7 million attendances each year, and that music tourism as a whole sustains nearly 40,…
Genocide: Perspectives From the Social Sciences
This article surveys risk factors for genocide and genocide prevention from the perspectives of four social science disciplines: sociology, social psychology, politicalcscience, and economics. Each discipline brings a valuable set of concepts and tools to bear in genocide research. More over, fruitful multi- and inter-disciplinary collaboration across the four disciplines (and other fields) is shedding new insights into why genocidehas have been …
A many-headed beast: Progressive rock as European meta-genre
There has been a marked resurgence of interest in progressive rock music both commercially and critically, with a number of articles and books now reassessing its styles, meanings, politics and appeal. Despite this, there has been a tendency to define progressive rock through a ‘symphonic orthodoxy’ which preferences a limited, albeit highly successful, number of British groups operating in a relatively narrow sonic landscape. This article questi…
A many-headed beast: Progressive rock as European meta-genre
There has been a marked resurgence of interest in progressive rock music both commercially and critically, with a number of articles and books now reassessing its styles, meanings, politics and appeal. Despite this, there has been a tendency to define progressive rock through a ‘symphonic orthodoxy’ which preferences a limited, albeit highly successful, number of British groups operating in a relatively narrow sonic landscape. This article questi…
Alone in the Crowd? Live Music Audiences and Individual Experience
Academic inquiries into the motivations and experiences of live music audiences have typically focused on the communal and social experience of concerts and festivals, whereas the experience of individual concertgoers has been relatively unexplored, especially in popular music contexts. In this article, qualitative interviews and focus groups were undertaken with self-declared progressive rock fans to understand their often-individualised engagem…
From Woodstock to Glastonbury to the Isle of Wight: The Role of Festival Films in the Construction of the Countercultural Carnivalesque
This article examines the narrative construction of two British music festival films, Message to Love: the Isle of Wight Festival (1995) and Glastonbury Fayre (1972): films which demonstrate narratives and techniques familiar from Woodstock – Three Days of Peace and Music (1970). I argue that these films, which portray the 1970 Isle of Wight Festival and the 1971 Glastonbury Fayre, have helped to construct and reinforce what I refer to as the “co…
A many-headed beast: Progressive rock as European meta-genre
There has been a marked resurgence of interest in progressive rock music both commercially and critically, with a number of articles and books now reassessing its styles, meanings, politics and appeal. Despite this, there has been a tendency to define progressive rock through a ‘symphonic orthodoxy’ which preferences a limited, albeit highly successful, number of British groups operating in a relatively narrow sonic landscape. This article questi…
Genocide: Perspectives From the Social Sciences
This article surveys risk factors for genocide and genocide prevention from the perspectives of four social science disciplines: sociology, social psychology, politicalcscience, and economics. Each discipline brings a valuable set of concepts and tools to bear in genocide research. More over, fruitful multi- and inter-disciplinary collaboration across the four disciplines (and other fields) is shedding new insights into why genocidehas have been …
Music Festivals in the UK: Beyond the Carnivalesque
The outdoor music festival market has developed and commercialised significantly since the mid-1990s, and is now a mainstream part of the British summertime leisure experience. The overall number of outdoor music festivals staged in the UK doubled between 2005 and 2011 to reach a peak of over 500 events. UK Music (2016) estimates that the sector attracts over 3.7 million attendances each year, and that music tourism as a whole sustains nearly 40,…
From Woodstock to Glastonbury to the Isle of Wight: The Role of Festival Films in the Construction of the Countercultural Carnivalesque
This article examines the narrative construction of two British music festival films, Message to Love: the Isle of Wight Festival (1995) and Glastonbury Fayre (1972): films which demonstrate narratives and techniques familiar from Woodstock – Three Days of Peace and Music (1970). I argue that these films, which portray the 1970 Isle of Wight Festival and the 1971 Glastonbury Fayre, have helped to construct and reinforce what I refer to as the “co…
Researching Live Music: Gigs, Tours, Concerts and Festivals
(Going) for the One: Progressive Rock Fandom as Mea Cultura
In this article, we focus on music fandom related to the band Yes, one of progressive rock’s most enduring legacy acts. Drawing on primary research interviews and focus groups, we argue that progressive rock fandom should be characterized as a largely private pursuit where the relationship between fans and their music is paramount. This relationship, and its associated listening practices, are viewed as an ongoing resource and life-long attachmen…
Reconfiguring Genre, Style, and Idiolect: Investigating Progressive Rock’s Meta-Genre and Affordances
In this article, the relationship between the classificatory terms of genre, style, and idiolect is examined. Focusing on progressive rock – noted for its heterogenous nature – I propose that we should adapt our current understanding of idiolect to encompass both the collective idiolects associated with particular bands, and the personal idiolects of musicians that perform in them. Allan F. Moore has previously argued that for some progressive ro…
Alone in the Crowd? Live Music Audiences and Individual Experience
Academic inquiries into the motivations and experiences of live music audiences have typically focused on the communal and social experience of concerts and festivals, whereas the experience of individual concertgoers has been relatively unexplored, especially in popular music contexts. In this article, qualitative interviews and focus groups were undertaken with self-declared progressive rock fans to understand their often-individualised engagem…
Art (7 works) · Music History and Culture (6 works) · History (5 works) · Sociology (5 works) · Aesthetics (4 works) · Literature (4 works) · Visual arts (4 works) · Archaeology (3 works) · Art history (3 works) · Diverse Musicological Studies (3 works)