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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... voice;nor, often, without drowningout alternative 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 ...
... voice. In theera ofdemocratic and industrial revolutions, this wasnot surprising. Second, thisvoice wasplural; it was, implicitly or explicitly, internally contested. Ina period when socialand political formations were influx,thistoo ...
... voice of God into a context marked by visions of secular illumination: enlightenment, potentially, for all. But the work does much more. Inpeopling his stage with representatives of interlocking social hierarchies — ofgender and race as ...
... voice of authority within thesubject (in the unconscious) — he runs the show, the author function in Omai, for example, working its magic througha complex series of relays enabling it to stand in not only for the bourgeois self, but for ...
... voice— and this arrangement continued tobe popular, despite the subsequent appearance ofmore elaborate settings, rightdown to theearly nineteenth century. Thecontrast between this soundworld and thatof contemporary operaseria mayhave ...
Contenido
Appropriating the Phallus? | |
Memories Are Made of This | |
The Real Thing? | |
Notes | |
Bibliography | |
SongIndex | |