Voicing the Popular: On the Subjects of Popular MusicRoutledge, 2013 M09 5 - 352 páginas How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future? Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low. |
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... African diaspora, andthe exoticSouth intoan interchangeable castof others.14 Within this structure,the triangular trade linkingAfrica, Europe, and Americaisparticularly interesting. The blackface performance genres of protominstrelsy ...
... African. In Omai themagic talisman given toOmai by Towha, which causes involuntarysneezing, yawning, whistling, laughing, and crying, serves a similar role.In societies building their identityon thebasis offorced labor,at home andabroad ...
... (Africa, blackface, the Celtic margins) at the other. Yet,as Steven Connor reminds us, this manifestation of ventriloquism assumesa relationship that ispotentially bidirectional: Omai the ventriloquist's dummy (not invisible but silent) ...
... African Americans as an opportunity to proclaim their own part in— and claims on— this advance. Althoughmany of their leaders (e.g., the aged Frederick Douglass)were there, it was difficultfor black musicians tomake much headway on the ...
... African music. Amongthe many foreign pavilions was a “Dahomey Village” wherea companyof Fon from West Africa drummed, sang, and danced,to the fascination of anthropologist Franz Boas, folklorist Henry Krehbiel, and some AfricanAmerican ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |