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Stan Hawkin

Biographic Data

ID3685207
NAMEStan Hawkin
GIVEN NAMESStan
FAMILY NAMEHawkin
SIGNATUREHAWKIN S
VERIFIEDNo
TOTAL WORKS4
TOTAL CITATIONS16
AUTHOR COUNT4
EDITOR COUNT0
FIRST PUBLICATION YEAR1992
LATEST PUBLICATION YEAR2018
H-INDEX2
  • Azealia Banks

    Open Access•K A Hansen, Stan Hawkin et al.•ARTICLE•Popular Music•2018•Cited by: 2•References: 14

    During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, 'Chasing Time' (2014), offering up various perspectives that pro…

  • Remembering Sheila Whiteley

    Open Access•Derek B Scott, Stan Hawkin et al.•ARTICLE•Popular Music•2016

    An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button

  • Perspectives in popular musicology

    Open Access•Stan Hawkin, Stan Hawkins•ARTICLE•Popular Music•1996•Cited by: 5•References: 9

    Scholars of popular music in the 1990s are increasingly aware that traditional musicology has failed to recognise commercial pop music as a legitimate academic area of study. Intransigence on the part of many Western music institutions towards recognising the field of popular music study is attributable to issues that have been heatedly debated and discussed in most disciplines of popular music study. Even withstanding the expansion of critical a…

  • Prince

    Open Access•Stan Hawkin, Stan Hawkins•ARTICLE•Popular Music•1992•Cited by: 9•References: 3

    Musically, it (Lovesexy) is probably the most complex and unconventional body of work he (Prince) has ever produced. The dense undergrowth of twists and disjunctures to which even the most structured songs are subjected brings to mind once again the extended jam rehearsal technique Prince has always favoured. (Hill 1989, p. 210

  • Prince

    Open Access•Stan Hawkin, Stan Hawkins•ARTICLE•Popular Music•1992•Cited by: 9•References: 3

    Musically, it (Lovesexy) is probably the most complex and unconventional body of work he (Prince) has ever produced. The dense undergrowth of twists and disjunctures to which even the most structured songs are subjected brings to mind once again the extended jam rehearsal technique Prince has always favoured. (Hill 1989, p. 210

  • Perspectives in popular musicology

    Open Access•Stan Hawkin, Stan Hawkins•ARTICLE•Popular Music•1996•Cited by: 5•References: 9

    Scholars of popular music in the 1990s are increasingly aware that traditional musicology has failed to recognise commercial pop music as a legitimate academic area of study. Intransigence on the part of many Western music institutions towards recognising the field of popular music study is attributable to issues that have been heatedly debated and discussed in most disciplines of popular music study. Even withstanding the expansion of critical a…

  • Azealia Banks

    Open Access•K A Hansen, Stan Hawkin et al.•ARTICLE•Popular Music•2018•Cited by: 2•References: 14

    During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, 'Chasing Time' (2014), offering up various perspectives that pro…

  • Prince

    Open Access•Stan Hawkin, Stan Hawkins•ARTICLE•Popular Music•1992•Cited by: 9•References: 3

    Musically, it (Lovesexy) is probably the most complex and unconventional body of work he (Prince) has ever produced. The dense undergrowth of twists and disjunctures to which even the most structured songs are subjected brings to mind once again the extended jam rehearsal technique Prince has always favoured. (Hill 1989, p. 210

  • Perspectives in popular musicology

    Open Access•Stan Hawkin, Stan Hawkins•ARTICLE•Popular Music•1996•Cited by: 5•References: 9

    Scholars of popular music in the 1990s are increasingly aware that traditional musicology has failed to recognise commercial pop music as a legitimate academic area of study. Intransigence on the part of many Western music institutions towards recognising the field of popular music study is attributable to issues that have been heatedly debated and discussed in most disciplines of popular music study. Even withstanding the expansion of critical a…

  • Remembering Sheila Whiteley

    Open Access•Derek B Scott, Stan Hawkin et al.•ARTICLE•Popular Music•2016

    An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button

  • Azealia Banks

    Open Access•K A Hansen, Stan Hawkin et al.•ARTICLE•Popular Music•2018•Cited by: 2•References: 14

    During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, 'Chasing Time' (2014), offering up various perspectives that pro…

Art (3 works) · History (3 works) · Music History and Culture (3 works) · Sociology (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Diverse Musicological Studies (2 works) · History (2 works) · Law (2 works) · Literature (2 works)

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