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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... tothe uncouth marginsof the British state. If so, this might promptan ethnic interpretation of his use (Air 44)of ... to the “Irish blackface clockwork” stylefound inmanyofthe “low” songs in Omai, with which it shares technical ...
... tothe statusofproperty, asthe wholeof society, including its musical representation, isbrought under therule of exchange. Stolen goods makethe opera's world goround (as,by implication, they do the capitalist world ofelite society) ...
... tothe Lacanian issue of the“voice of God”— a vehicle of invisible authority, claims to which mightseemto install the people musically as heirs to an old foundational fraud.Is this where voicing the popular ends up — mimicking a ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |