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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... Chorus: We're nottoo low — the bread to grow, Buttoo low the bread to eat. Down, down we go — we're so very low, To the hell of the deep sunk mines, But we gather the proudest gems that glow, When the crown of a despot shines ...
... Chorus: We'renot too low [etc.] We're low— we're low—we're very, very low, And yet whenthe trumpets ring, The thrust ofa poor man'sarm willgo Thro' the heart of the proudest King. We're low — we're low — our place we know, We're only ...
... ifthe music —probably asaresult of its performance history—has beenmade to“catch up”(most of Lowry's other extant compositions fall intothe category orstyle of drawingroom ballad).Perhaps this is also why the chorus indicated inthe ...
... chorus indicated inthe original publications —implying solo performance of the verses — has disappeared intheWMA version: by now, the music suggests collective delivery throughout. 5 Still, even ifwe detecta slight mismatch inthe ...
... Chorus of Indians) and his immortality saluted, the imperial assimilation is completed. Captain: Accept of mighty George our sovereign lord, In sign of British love,this British sword. Oberea: Oh joy! Away my useless spells and magic charms ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |