The Oxford Handbook of Country Music

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CONTENTS
CONTRIBUTORS
INTRODUCTION: Situating Country Music Studies
Travis D. Stimeling
Chapter 1: Come Hither to Go Yonder: The Folklorist's Zigzag Path to Country Music Studies
Erika Brady
Chapter 2: The Southernness of Country Music
Patrick Huber
Chapter 3: The Country Music Association, The Country Music Foundation, and Country Music's History
Diane Pecknold
Chapter 4: Country Music as Cultural Practice
Clifford R. Murphy
Chapter 5: Geography and Country Music: Constructing Geo-Cultural Identities
Jada Watson
Chapter 6: On the Notion of Old-Time in Country Music
Greg Reish
Chapter 7: Country Music and Recording Practice
Travis D. Stimeling
Chapter 8: The Singing Voice in Country Music
Stephanie Vander Wel
Chapter 9: This Machine Plays Country Music: Invention, Innovation, and the Pedal Steel Guitar
Tim Sterner Miller
Chapter 10: Country Music and the Recording Industry
Charles L. Hughes
Chapter 11: Country Radio: The Dialectic of Format and Genre
Eric Weisbard
Chapter 12: Country Music and Television
Tracey E.W. Laird
Chapter 13: Country Music and Film
Barry Mazor
Chapter 14: The Sociology of Country Music
Richard Lloyd
Chapter 15: Class in Country Music
Leigh H. Edwards
Chapter 16: Race in Country Music Scholarship
Olivia Carter Mather
Chapter 17: Gendered Stages: Country Music, Authenticity, and the Performance of Gender
Kristine M. McCusker
Chapter 18: Sexuality in Country Music
Pamela Fox
Chapter 19: On the Sacred in Country Music
Stephen Shearon
Chapter 20: Goin' Hillbilly Nuts: Fashion Culture and Visual Style in Country Music
Caroline Gnagy
Chapter 21: Whither the Two-Step: Country Dance Re-Writes Its Musical Lineage
Jocelyn R. Neal
Chapter 22: These Are My People: The Politics of Country Music
Jason Mellard
Chapter 23: Country Music and Fan Culture
Jonathan Wynn
Chapter 24: What's International About International Country Music?: Country Music and National Identity around the World
Nathan D. Gibson
INDEX

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About

Now in its sixth decade, country music studies is a thriving field of inquiry involving scholars working in the fields of American history, folklore, sociology, anthropology, musicology, ethnomusicology, cultural studies, and geography, among many others. Covering issues of historiography and practice as well as the ways in which the genre interacts with media and social concerns such as class, gender, and sexuality, The Oxford Handbook of Country Music interrogates prevailing narratives, explores significant lacunae in the current literature, and provides guidance for future research. More than simply treating issues that have emerged within this subfield, The Oxford Handbook of Country Music works to connect to broader discourses within the various fields that inform country music studies in an effort to strengthen the area's interdisciplinarity. Drawing upon the expertise of leading and emerging scholars, this Handbook presents an introduction into the historiographical narratives and methodological issues that have emerged in country music studies' first half-century.

Reviews

It might seem surprising that a book on country music is now part of the scholarly 'Oxford Handbooks' series. However, the nature of this book demonstrates that it clearly belongs there. Potential readers might not know what to expect from such a title, but they will find that it provides an informative literature review summarizing the state of research for country music. In his introduction, Stimeling (West Virginia Univ.) states that more thorough research has been done about the early history of country music and that scholarly coverage of its more recent history is marginal compared to that done on rock, pop, and jazz. Stimeling has assembled essays from an impressive group of scholars not only in music but also in fields such as history and folklore. They provide thought-provoking material, much of which has insightful an interdisciplinary perspective. This book is a welcome contribution to serious research on country music

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