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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... mirror ofthe corruption of contemporary high society, Gayleaves the parallelisms between highandlow that we observed in Die Zauberf őte and Omai—the “similitude of manners inhighand low life,”as his Beggar describes it—at.
... mirrors that of property andof money— and oftunes. AsMarx's metaphor suggests, this movement, mediated by thehigh/low reflection, works by illusion, the mechanismof exchange necessarily leaving behind (hidden, masked) what its ...
... mirror” — the capacityof sound to double back narcissistically from mouth to ear, representing imagined identity toitself. Similarly, Attali's argument thatthe repetitions inherentinmass reproduction technology destroy usevalue ...
... mirrors Adorno's method,in whichany genre orpractice failing to gainadmittance tohis category of “serious music” islumped together as “popular” or “commercial;” thus,for Silver and Bruce, “Popular music has alreadybeen defined ...
... mirror images which are however quite incompatible: each is the supplement of the other, each from itsown pointof viewstands theother on its feet(or head), while taken together they strenuously voice particular positions that attempt to ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |