List of figures and tables
Acknowledgments
1. Curatorial practice in popular music museums: an introduction
2. Canonic representations: the celebration of dominant (and hidden) histories
3. Selling the museum experience: curation, economies, and visitor experience
4. Popular music and place: local, national and global stories
5. Treating objects like art: curating material culture
6. Telling stories: narratives of popular music's past
7. Curator subjectivity: influence and bias in popular music exhibitions
8. Living history: nostalgia as affective curatorial practice
9. Managing the music: Sound in the popular music museum
10. Beyond the typology: concluding thoughts
References
Index
Museums covered:
Country Music Hall of Fame and Museum (Nashville, United States)
Arts Centre Melbourne (Melbourne, Australia)
KD's Elvis Presley Museum (Hawera, North Island, New Zealand)
Powerhouse Museum (Sydney, Australia)
Australian Country Music Hall of Fame (Tamworth, Australia)
Rock and Roll Hall of Fame and Museum (Cleveland, United States)
Georgia Music Hall of Fame (Macon, United States)
Experience Music Project (EMP) (Seattle, United States)
Heart of Texas Country Music Museum (Brady, United States)
PopMuseum (Prague, Czech Republic)
Hector Country Music Museum (Hector, South Island, New Zealand)
Museum RockArt (Hoek van Holland, the Netherlands)
Reykjanes Museum of Heritage (Reykjanes Peninsula, Iceland)
Ramones Museum (Berlin, Germany)
Nederlands Instituut voor Beeld en Geluid (Hilversum, the Netherlands)
The Grammy Museum (Los Angeles, United States)
British Music Experience (BME) (London, United Kingdom)
Tónlistarsafn Íslands (Kópavogur, Iceland)
National Museum of African American Music (Nashville, United States)
