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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... blackface performance genres of protominstrelsy would not get under way intheUnited States for anotherfifteen yearsor so;but the representational mode heard in Shield's“Traveller's Song”was already familiar, both in Britain and in ...
... blackface character— Mungo, whose two songs are in the clockwork style previously described 15 —and this crossed the Atlantic onlya yearafter its London premiere (1768). The transatlantic traffic in musical theater was brisk (as far as ...
... blackface ... figured class— ... itslanguages of race so invokedideasabout classastoprovide displaced maps or representations of 'working classness'.” 17ForLhamon, “blackface developed distinct responsesto 'amalgamation' — notby ...
... 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) asks of ...
... blackface clockwork” stylefound inmanyofthe “low” songs in Omai, with which it shares technical characteristics: Example 1.10 Several songs had been written on the subject of the South Sea Bubble, and Gay's lyric implicitly compares ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |