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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... London (including the National Sound Archive).I owe specific debts, forassistance in chasing up material or references,to Paul Attinello, Helen Barlow, Jan Fairley, Jim Garretts, and Trevor Herbert. David de la Haye kindly put the music ...
... London circles, and also broke through as awriter of verseand romances. An increasing sense of social mission in theearly 1840sledto his conversion to the Chartist cause, but, despite afriendship with MarxandEngels (beginning in 1847) ...
... London premiere (1768). The transatlantic traffic in musical theater was brisk (as far as we know, Omai was not performedin theUnited States, but fifteen other works by Shield were); and, given the huge amount of blackface performance ...
... London in 1788). 22 This figure, devoid of will and feeling, was often compared adversely to the free citizens of Europe and just as often transmutes, inthe imagery, into a caricatured African. In Omai themagic talisman given toOmai by ...
... London in 1802,withimmediate success. The name was subsequently applied widely toa variety of illusionist entertainments, and, metaphorically, to other phenomena withsimilar features: hallucination (usually withthe frisson of ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |