Senior Lecturer in Media Studies
<p>Most of my work is on popular music and media but whatever the particular field of study I’ve tended to explore one or more of these overlapping themes over the last few years:</p><ul><li>authorship and creative labour in cultural production</li><li>race, music and the vexed nature of cosmopolitanism</li><li>applying critical realist social theory to the spheres of music and culture.</li></ul><p>Previously I was a Co-Investigator on the AHRC funded large grant project,<a href="http://www8.open.ac.uk/researchprojects/diasporas/">Tuning In: Diasporic Contact Zones at the BBC World Service</a>. In 2009-2011 I was Principal Investigator of the research project,<a href="http://www8.open.ac.uk/researchprojects/blackbritishjazz/">What Is Black British Jazz: Routes, Ownership, Performance</a>which was a large grant project funded by the AHRC’s Beyond Text programme.</p><p>(2012)'Music, culture and creativity', in M. Clayton, T. Herbert and R. Middleton (eds.)<em>The Cultural Study of Music</em>(2nd ed.), London: Routledge, pp. 161-71</p><p>(2011) (with Byron Dueck, editor)<em>Migrating Music</em>, London: Routledge, 256 pp.</p><p>(2011) (with Byron Dueck)'Migrating music', in J. Toynbee and B. Dueck (eds.)<em>Migrating Music</em>. London: Routledge, pp. 1-25</p><p>(2011)'The critical accomplice: contradiction in cultural politics and what to do about it',<em>Journal of the Finnish Anthropological Society</em>, 36/3, pp. 60-66</p><p>(2010) (with Farida Vis)'World music at the World Service, 1942-2008: Public diplomacy, cosmopolitanism, contradiction',<em>Media, Culture and Society</em>, 32/4, pp. 547-564</p><p>(2010)'Reggae open source: how the absence of copyright enabled the emergence of popular music in Jamaica', in L. Bently, J. Davis& J. Ginsburg (eds.)<em>Copyright and Piracy: an Interdisciplinary Critique</em>. Cambridge: Cambridge University Press, pp. 357-73</p><p>(2010)'Creativity and intellectual property rights', in H. Anheier and Y. R. Isar (eds.) Cultural Expression, Creativity and Innovation. London: Sage, pp. 86-98</p><p>(2009)'Continuing the struggle in hard times', in J. Pugh (ed.)<em>What is Radical Politics Today?</em>London: Palgrave-Macmillan. pp.112-19</p><p>(2008) (with David Hesmondhalgh, editor)<em>The Media and Social Theory</em>, London: Routledge, 275 pp.</p><p>(2008)'Media making and social reality', in D. Hesmondhalgh and J. Toynbee (eds.)<em>The Media and Social Theory</em>. London: Routledge, pp. 265-79</p><p>(2008) (with David Hesmondhalgh)'Why media studies needs better social theory', in D. Hesmondhalgh and J.Toynbee (eds.)<em>The Media and Social Theory</em>. London: Routledge, pp. 1-24</p><p>(2007)<em>Bob Marley: Herald of a Postcolonial World?</em>Cambridge: Polity, 263pp.</p><p>(2006)'Copyright, the work and phonographic orality in music',<em>Social and Legal Studies</em>, 15/1, pp. 77-99</p><p>(2006) (with Marie Gillespie, editor)<em>Analysing Media Texts</em>, Maidenhead: Open University Press, 208 pp.</p><p>(2006)'The politics of representation', in M. Gillespie and J. Toynbee (eds.)<em>Analysing Media Texts</em>, Maidenhead: Open University Press, pp. 157-185</p><p>(2006) (with Andy Bennett and Barry Shank)<em>The Popular Music Studies Reader</em>, London: Routledge, 408pp.</p><p>(2006)'Making up and showing off: what musicians do', in A. Bennett, B. Shank and J. Toynbee (eds.)<em>The Popular Music Studies Reader</em>, London: Routledge, pp. 71-77</p><p>(2006)'The media's view of the audience', in D. Hesmondhalgh (ed.) Media Production, Maidenhead: Open University Press, pp. 91-132</p>
Dr Jason Toynbee
Toynbee
Toynbee
Jason
Jason
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Jason Toynbee
Jason Toynbee
Dr