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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... ideological symptom, “a formation whose very consistency implies acertain nonknowledge on the part of the subject.”67 Freudthen picked up theidea of this structure — in which the fetish(now a sexualized object) stands in for, represents ...
... ideological critique isto“go through” thefantasy, achieve distancefromit, and identify withits underlying mode of jouissance (the “Sinthome” as Lacan neologistically calls it, todistinguish it fromthe ideological symptoms which it ...
... ideology. Most music examples come from the first three decadesofthe twentieth century or from the 1960s and 1970s, but the significance of thisis purely that these are periods of intricate resettlement in the musical field, following ...
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Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |