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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... Sound Archive).I owe specific debts, forassistance in chasing up material or references,to Paul Attinello, Helen Barlow, Jan Fairley, Jim Garretts, and Trevor Herbert. David de la Haye kindly put the music examples through themysterious ...
... sounds. Who, then, is entitled tothis voice ofthe people? Andwhat dothey have to tell us? Ernest Jones, the “Chartist poet laureate,” was one who certainly laid claim to it,for instance, inthepolitical soirées (or “evenings forthe ...
... sound effects, and theater machinery, were already celebrated; theygave “natural motion to accurate resemblance,” according toone contemporary description.11 The eponymous hero was based on a realOmai —a “prince” from Tahiti,brought ...
... sound contrapuntist will ever attempt to alter them.”32 This suggestion of ambivalence between high and low isintensified by the factthatGayuses, alongside allthe vernacular tunes,afew by contemporary opera composers, Italian as well ...
... sounds ofthe array ofexotic others thework contains; but might we go further andimagine themas standing in forthatother voice — theone thatwould havebeenthe most transgressive of all— which Shield could not represent? To placethe work ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |