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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... the same time, the initial upbeat — acallto attention, or to arms— recallsthe beginning of the Marseillaise (amodel ... thesame time characteristic of nineteenthcentury worker'ssong andtypical of aplebeian song lineage traceableas far ...
... thesame time capableof bothlearning (from his betters, the female heroine Pamina aswell as Tamino)and of achieving ... the same time function as constitutive relationships: hierarchiesthat are alwaystending towardsbinary simplification ...
... the same time holding thisworld up asa 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 ...
... thesame time, Pepusch did“civilize” the tunes. For the later music historian, Charles Burney, writingin 1789, he “furnished the wild, rude, and often vulgar melodies with bases so excellent that no sound contrapuntist will ever attempt ...
... theirown bubbles”; 34 and the tune's mechanical but hypnoticcirculation of the same interchangeable figures mightbe read as an image of exchange— ofboth wealth and of transgressive subjective desire — the two sides brought.
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |