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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... articulation, developed further by Hall and by Laclau and Mouffe, andwhich responds tothe sense offixityin the concept of representation with an emphasis on connectivity: which inturnbrings back an interest in the full range of mimetic ...
... articulated, whatever we try to make itmean, thepeople assubject isembedded somewhere within it, and with anemotional charge that willapparently justnotgo away. We need toaccount forthat investment aswellas the (necessary) mutability ...
... that Symbolicwork couldchange the Real, that (touse older, Freudian terms)consciously articulated activity might restructure the(social and political as well as individual) unconscious, not just identify with it. ****** What follows falls.
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Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |