Output details

Björk

This is the first major scholarly critique of the work of Icelandic musician Björk. In its broader context it is one of few academic works which presents detailed musicological analysis of the work of a popular music artist, previous studies of which tend to emphasise the historical or sociological aspects of an artist’s work. The book was received positively within academia (reviews in Popular Music History, 2009; Music Theory Online, 2010; Popular Music, 2012). It was also praised by Björk: “I liked it because it wasn't about my boyfriends or my children which female artists get a lot ... but seemed to be quite up front and down to earth about my music. She also seemed to be able to cover both the electronic and the more academic angle of my music which is rare. You either have the pop folks being intimidated about the string and the choir arrangements or you get the semi classical lot who sort of seem keen of "promoting" me into being a composer my fair lady style. Like they want to rescue me from pop. Which I am quite comfortable and proud to be part of. Nicola Dibben seemed not to care about either of those hurdles.” (Björk, The Guardian, 2011). Subsequent to Björk reading the book she invited Dibben to collaborate on her next album project - Biophilia (2011) - which forms an impact case study in REF3b.

A double-weighting request is made for this output due to the length of time during which the ideas and skills for the book were developed. Dibben began work on the analysis of Björk's music in 2001, using it as a case study to demonstrate a theoretical perspective on subjectivity and music (Dibben, 2006). This developed into an artist-focused approach involving interviewing and fieldwork, both relatively new methods for Dibben. Ideas for the monograph developed through conference and colloquia presentations (2001-2008), and Arts and Humanities Research Council Research Leave funding Sept 2006 to Jan 2007.