http://www.bbc.com/news/magazine-34801885
Sunday, November 15, 2015
Wednesday, November 4, 2015
Notes on Simon Frith, "Why do Songs Have Words?"
Frith Words and Music
A. In the usual, simplest case, a song is a conjunction of words and music
B.The experience of the song, especially in performance, is primarily a matter of the rhythmic interaction of the words and music
According to Simon Frith, popular song has been studied as if it consisted primarily of words, with the music somewhere in the indeterminate background
Scholars of content analysis treat the song’s lyric as a message, and the song as a bearer of that content; a love song is “about” love, so all you have to do to discuss it is look at the way it—i.e., the lyric—talks about love
HF Mooney 1954: the themes of pop lyrics reflect the concerns, ideas, and emotions of the audience
No particular mention of what, if anything, the music of the songs “reflects”; and no mention of what the hell the music is doing there at all, for that matter
A song’s popularity equates to agreement with its message in reality or in fantasy (i.e. nostalgic longing for the good old days represented in country lyrics)
[kit 35:] e.g. Dave Harker’s insistence that the marriage mentioned in “Winter Wonderland” “articulates key fantasies.. about the pattern of sexual relations felt to be most appropriate for a particular social order”
once more, no hint of what, if anything, the music is doing in the piece
Frith [pg 36]: “Songs are, in this account, a form of propaganda.”
For some (academic) critics, the cure for overly romantic, idealistically phony emotions is lyrical realism, the direct expression [in words] of the genuine emotions and social realities of the singer (and audience) (“keepin’ it real” is an expression of a related idea); the true aim of (popular) music is “authenticity,” some sort of direct correspondence between the reality of the experience and (reality of) the song
If a singer sings about drug dealing, infidelity, or stamp collecting, the song is “better” if the singer is in fact a drug dealer, philanderer, or stamp collector
Once more: the entire perspective has buggerall to do with the music
Some entire styles or genres were/are considered “more authentic”: blues, especially rural blues; hip-hop, especially gangsta rap; country, especially pre-Shania
As a rule: the more demonstrably miserable the personal life of the singer, the better the song
[pg 40] “[assessments of].. lyrical realism.. [and banality] assume that songs differ in their effects.. [because] these can be read off good and bad words”
in other words: a good or bad song can be judged as written on the page—without music, without performance, without a singer
[pg 40] some studies suggested that listeners were unaware of the subject matter of pop songs; “changes in lyrical content cannot be explained by reference to consumer ‘moods’.”
[pg 41] Frith: “In songs, words are the sign of a voice. A song is always a performance and song words are always spoken out, heard in someone’s accent.”
In other words, ironically, the notion that the experience of a song is equivalent to the message of its lyric also overlooks the reality of those words, which is that they are sung, in a particular way, by a particular singer.
The words themselves are not the same when sung by a different singer!
[Frith:] to understand popular song lyrics requires studying the “performing conventions” that exist in particular music genres
different genres of music allow or cause their audiences to imagine different kinds of [social/emotional] community
[pg42] “The songwriter’s art.. is.. to cherish words ‘not for their sense alone but for their poise and balance,’ and this is a matter of rhythm too — the rhythm of speech.”
“Pop [love] songs do not ‘reflect’ emotions.. but give people the [romantic] terms in which to articulate and so experience their emotions.”
A. In the usual, simplest case, a song is a conjunction of words and music
B.The experience of the song, especially in performance, is primarily a matter of the rhythmic interaction of the words and music
According to Simon Frith, popular song has been studied as if it consisted primarily of words, with the music somewhere in the indeterminate background
Scholars of content analysis treat the song’s lyric as a message, and the song as a bearer of that content; a love song is “about” love, so all you have to do to discuss it is look at the way it—i.e., the lyric—talks about love
HF Mooney 1954: the themes of pop lyrics reflect the concerns, ideas, and emotions of the audience
No particular mention of what, if anything, the music of the songs “reflects”; and no mention of what the hell the music is doing there at all, for that matter
A song’s popularity equates to agreement with its message in reality or in fantasy (i.e. nostalgic longing for the good old days represented in country lyrics)
[kit 35:] e.g. Dave Harker’s insistence that the marriage mentioned in “Winter Wonderland” “articulates key fantasies.. about the pattern of sexual relations felt to be most appropriate for a particular social order”
once more, no hint of what, if anything, the music is doing in the piece
Frith [pg 36]: “Songs are, in this account, a form of propaganda.”
For some (academic) critics, the cure for overly romantic, idealistically phony emotions is lyrical realism, the direct expression [in words] of the genuine emotions and social realities of the singer (and audience) (“keepin’ it real” is an expression of a related idea); the true aim of (popular) music is “authenticity,” some sort of direct correspondence between the reality of the experience and (reality of) the song
If a singer sings about drug dealing, infidelity, or stamp collecting, the song is “better” if the singer is in fact a drug dealer, philanderer, or stamp collector
Once more: the entire perspective has buggerall to do with the music
Some entire styles or genres were/are considered “more authentic”: blues, especially rural blues; hip-hop, especially gangsta rap; country, especially pre-Shania
As a rule: the more demonstrably miserable the personal life of the singer, the better the song
[pg 40] “[assessments of].. lyrical realism.. [and banality] assume that songs differ in their effects.. [because] these can be read off good and bad words”
in other words: a good or bad song can be judged as written on the page—without music, without performance, without a singer
[pg 40] some studies suggested that listeners were unaware of the subject matter of pop songs; “changes in lyrical content cannot be explained by reference to consumer ‘moods’.”
[pg 41] Frith: “In songs, words are the sign of a voice. A song is always a performance and song words are always spoken out, heard in someone’s accent.”
In other words, ironically, the notion that the experience of a song is equivalent to the message of its lyric also overlooks the reality of those words, which is that they are sung, in a particular way, by a particular singer.
The words themselves are not the same when sung by a different singer!
[Frith:] to understand popular song lyrics requires studying the “performing conventions” that exist in particular music genres
different genres of music allow or cause their audiences to imagine different kinds of [social/emotional] community
[pg42] “The songwriter’s art.. is.. to cherish words ‘not for their sense alone but for their poise and balance,’ and this is a matter of rhythm too — the rhythm of speech.”
“Pop [love] songs do not ‘reflect’ emotions.. but give people the [romantic] terms in which to articulate and so experience their emotions.”
Tuesday, October 6, 2015
Morse: marginal correction codes
Morse: marginal correction codes
See standard proofreading codes at http://www.journalismcareers.com/articles/proofreadingsymbols.shtml
, !! = good point, well said, bravo!
? = individual word, phrase not clear
X = mistake in point of fact or interpretation
[xxx], added brackets: consider deleting “xxx”
[crossed out]: needless word/phrase/clause/sentence/paragraph
= awkward (or non-existent) transition between paragraphs
s/b = should be [“just say ‘no!’ to drugs!” s/b: “just say ‘no, thank you!’ to drugs!”
sl = slang or other undesirable usage (e.g., “impacted” instead of “affected”; “based off of” instead of “based on”)
cl = cliché – overused expressions [“don’t go there,” “as if,” “X is the new Y,” “close call”—etc, etc!]
red = redundant [“a female girl,” “a humorous joke”]
fr = sentence fragment (missing one or more of subject/verb/object)
sp = word misspelled; don’t rely on spell checkers, use your brain and a good dictionary!
WW = wrong word or wrong usage; find a (simpler) word that says what you’re aiming for clearly
H [circled] = hype; don’t make a sales pitch, make a description, an analysis, explanation, or argument; artistic
praise or blame is never the point in this course work!
V [circled] = vague; point is not clear
AWK = awkward, e.g. “She walked tip-toe-ishly” [s/b: “she tip-toed”]
PV = awkward or ill-advised use of the passive voice [“It is thought that” instead of “I think”]
EXPL = explain, please; spell out the reasoning for what you’re saying
EXAG = exaggeration
IYO = "in your opinion"; i.e., statement unfounded, groundless
DIF = Don’t invent facts; write simple declarative statements—but make sure their contents are defensible
R/O = run-on sentence; make sure you express only a single thought with a single sentence
Q - ~Q = contradiction; the passage marked ‘Q’ is contradicted by the passage marked ‘~Q’
NTP SVP = no title page, s’il vous plait!
WMS! = WRITE MORE SIMPLY!!! Use simpler words, and less of them! [“At this point in time” s/b: “now”]
PR! = PROOFREAD!! Do NOT submit work you have not checked for errors.
- These words that are so regularly misused that they are BANNED: within, portray, hold, represent, “relate to,”
instill, society (as an agent, e.g., “society made her a star”; ‘society’ cannot do anything), upbeat, basically,
literally, certainly/surely/plainly/obviously, many/most/everyone/anyone, lifestyle
Evaluation and other codes
X (or RW) = not accepted; rewrite necessary for credit
( ) = cannot evaluate the work in its present form, and/or don’t know which assignment it is
SMP = See me, please
- Word does NOT number the pages by default; please NUMBER your pages
- Always put your name on everything; always include a clear and indicative title ; please do NOT include a
separate title page; no particular reference format is required; for course material, just indicate the (course
reading) title, author and page #; if you do include outside sources, use a consistent and clear format
- Proofread & edit everything you submit; have faith in yourself, take pride in your work, say what you
believe–and believe what you say!
See standard proofreading codes at http://www.journalismcareers.com/articles/proofreadingsymbols.shtml
, !! = good point, well said, bravo!
? = individual word, phrase not clear
X = mistake in point of fact or interpretation
[xxx], added brackets: consider deleting “xxx”
[crossed out]: needless word/phrase/clause/sentence/paragraph
= awkward (or non-existent) transition between paragraphs
s/b = should be [“just say ‘no!’ to drugs!” s/b: “just say ‘no, thank you!’ to drugs!”
sl = slang or other undesirable usage (e.g., “impacted” instead of “affected”; “based off of” instead of “based on”)
cl = cliché – overused expressions [“don’t go there,” “as if,” “X is the new Y,” “close call”—etc, etc!]
red = redundant [“a female girl,” “a humorous joke”]
fr = sentence fragment (missing one or more of subject/verb/object)
sp = word misspelled; don’t rely on spell checkers, use your brain and a good dictionary!
WW = wrong word or wrong usage; find a (simpler) word that says what you’re aiming for clearly
H [circled] = hype; don’t make a sales pitch, make a description, an analysis, explanation, or argument; artistic
praise or blame is never the point in this course work!
V [circled] = vague; point is not clear
AWK = awkward, e.g. “She walked tip-toe-ishly” [s/b: “she tip-toed”]
PV = awkward or ill-advised use of the passive voice [“It is thought that” instead of “I think”]
EXPL = explain, please; spell out the reasoning for what you’re saying
EXAG = exaggeration
IYO = "in your opinion"; i.e., statement unfounded, groundless
DIF = Don’t invent facts; write simple declarative statements—but make sure their contents are defensible
R/O = run-on sentence; make sure you express only a single thought with a single sentence
Q - ~Q = contradiction; the passage marked ‘Q’ is contradicted by the passage marked ‘~Q’
NTP SVP = no title page, s’il vous plait!
WMS! = WRITE MORE SIMPLY!!! Use simpler words, and less of them! [“At this point in time” s/b: “now”]
PR! = PROOFREAD!! Do NOT submit work you have not checked for errors.
- These words that are so regularly misused that they are BANNED: within, portray, hold, represent, “relate to,”
instill, society (as an agent, e.g., “society made her a star”; ‘society’ cannot do anything), upbeat, basically,
literally, certainly/surely/plainly/obviously, many/most/everyone/anyone, lifestyle
Evaluation and other codes
X (or RW) = not accepted; rewrite necessary for credit
( ) = cannot evaluate the work in its present form, and/or don’t know which assignment it is
SMP = See me, please
- Word does NOT number the pages by default; please NUMBER your pages
- Always put your name on everything; always include a clear and indicative title ; please do NOT include a
separate title page; no particular reference format is required; for course material, just indicate the (course
reading) title, author and page #; if you do include outside sources, use a consistent and clear format
- Proofread & edit everything you submit; have faith in yourself, take pride in your work, say what you
believe–and believe what you say!
Thursday, October 1, 2015
The music biz - exposé
http://www.trueactivist.com/need-more-proof-that-the-music-industry-is-fake-here-you-go/?utm_source=fb&utm_medium=fb&utm_campaign=antimedia
Wednesday, August 12, 2015
You and me and Academic Publishing
Dear Folks,
Here's a part of what we're up against: http://www.cbc.ca/news/technology/academic-publishers-reap-huge-profits-as-libraries-go-broke-1.3111535
The solution is to support honest, non-greedy publishers who are not trying to get rich by screwing students. CSP is such an organization. Please buy the course pack, and help sustain the good guys!
MWM
Here's a part of what we're up against: http://www.cbc.ca/news/technology/academic-publishers-reap-huge-profits-as-libraries-go-broke-1.3111535
The solution is to support honest, non-greedy publishers who are not trying to get rich by screwing students. CSP is such an organization. Please buy the course pack, and help sustain the good guys!
MWM
Monday, August 10, 2015
Note: this version has no formatting; it is just an introduction and overview
TRENT UNIVERSITY
Cultural Studies Department
Cultural Studies 2045Y: Music and Society
Peterborough - FW 2015-2016
Course Director: Michael Morse mmorse@trentu.ca 748-1011 ext. xxx
Seminar Leaders: Matthew Lilko, Mahatma Kane Jeeves
Office Hours: by app't Office Location: TBA
Course Admin: Rosemary Devlin, SH 202 Email: cultstudies@trentu.ca Telephone: 1771
Lecture: Wednesday 10-11:50 SH 105 (Traill College)
Seminars: W 12-1 SH 102.1 || W 4-5 SH 102.1 || W 2-3 SH 102 || W 3-4 SH 102
OVERVIEW:
The simplest and least abstract idea of the correlation of music and society is, first, that the
“correlation” is not a contrast; music is always social, and no known society (except Scarborough) does not have some version of music; second, that music is a form of meaning, related to language but not the same; third, that music is a form of social action. As such, it is comparable to other forms of action, such as learning, business, art, romance, worship, entertainment, and friendship. Music is unusual in not only overlapping with these other forms of action, but through its integration with them. Music does not just accompany our daily lives, it inspires, animates, and gives meaning to its dimensions; a social view of music asks how this is possible.
To understand this complex form of human action, we will consider its most basic manifestations:
song, which integrates the rhythms of (poetic) words and tonal sound, and dance, which integrates the
rhythms of physical movement and sound. Beyond these basic principles, we will examine concepts such as context, the social integration of various forms of action in(to) the reality of particular situations; genre, the separation of music into different categories of meaning and value; authenticity, which may or may not guide us to musical truth. We will address music as a dimension of social history; how does music change and develop? Among the primary questions the course will pose: how can music be addressed in words, and what's the point of talking about it? How has the word "music" come to mean "popular music"? What are the social and historical origins of popular music? What are the relations between music and words? Do different types of music represent genuinely different or incompatible experiences? How are musical structures correlated to social structures?
Although no formal background of musical performance is required, developing disciplined
listening skills is a vital part of the curriculum. Without mental participation and intellectual involvement, you cannot understand the course, nor do the work. If you cannot commit to missing less than two lectures and seminars per term, this course is not for you. Reading, listening, lectures, and seminars are equally vital. The course tells a story; not a justification of the instructors’ tastes and prejudices, but an unfolding of how we think about music and experience it in different ways and contexts. Missing classes means skipping chapters, which eventually makes the story meaningless.
The skills the course aims to teach include improved reading comprehension; concise writing and
editing; increased facility in dealing rationally with abstractions; and seeing beyond relativism, and
personal opinion. About the last point: a large portion of the course is devoted to critically re-examining popular but misleading clichés about music. Unlike the subjects of other social science courses, few people start to think about music and society from scratch, without holding some unexamined assumptions that are as tenacious as they are demonstrably incorrect. The course must begin by clearing away these familiar misconceptions of what is “self-evident” about music.] Questions and discussion in the lecture hour are definitely encouraged!.
COURSE PREREQUISITES: Cultural Studies 1000Y or permission of the course director
COURSE FEE: none
REQUIRED (and recommended) TEXTS:
note: “Required” is in bold, because that’s what these materials are. Academic publishing is
presently in a crisis. We are all trying to do our part both to keep it alive, and to keep student
costs down as much as possible. Therefore we must insist that you acquire your own copies
of the two texts, and access to the online readings. If you cannot meet this requirement,
speak to your seminar leader before class.
- Coursepack of readings, available at the bookstore [note: this year’s coursepack is significantly different from last year’s! As above: please help keep academic publishing alive ]
- How to Write about Music, ed. By Marc Woolworth and Ally-Jane Grossan – We will not use this book until late in the first term, but please order it as soon as possible. Visit the website:
http://www.bloomsbury.com/us/search?q=how+to+write+about+music&gid=1
and you can choose between formats: paperback, pdf, or EPUB Book. All are reasonably priced, in the $22-25 range. [If for some cockamamy reason the link won’t work, Google “Bloomsbury Press,” and enter “How to Write about Music” in their search slot. If you purchase a paper copy, be sure to allow time for delivery before the November 11th class]
- Marilia Duffles, “Action Replay” [Jan. 6/13] is on the old course blog:
https://www.blogger.com/blogger.g?blogID=7852597585166292778#editor/target=post;postID=9116989379
326632016;onPublishedMenu=posts;onClosedMenu=posts;postNum=16;src=postname
- versions of “Creep” by Radiohead [Nov. 11]:
1. Radiohead: https://www.youtube.com/watch?v=XFkzRNyygfk
2. Haley Reinhart: https://www.youtube.com/watch?v=m3lF2qEA2cw
3. Karen Marie: https://www.youtube.com/watch?v=3Ub3vliRRXI
4. Elena [The Voice of Croatia contest]: https://www.youtube.com/watch?v=KHm585yVKxE
5. Daniela Andrade: https://www.youtube.com/watch?v=DDjlaN-X8-0
6. “Homeless Mustard”: https://www.youtube.com/watch?v=hXlzci1rKNM
- The Wikidrummer, https://www.youtube.com/watch?v=mY-f68J5PPo [Jan. 20/16]
Recommended: - this essay is a useful, readable intro to the Adorno piece [Nov. 18/25]:
https://listentobettermusic.wordpress.com/2014/08/16/on-popular-music-by-theodor-adorno/]
Strongly recommended: Strunk & White, Elements of Style [also available online:
http://www.bartleby.com/141/ or http://www.crockford.com/wrrrld/style.html ]
Writing Help:http://www.trentu.ca/academic/acadskills/
EVALUATION
1. 5 Short Essays 50% (2 in 1st term, 3 in 2nd term)
2. Lecture/Seminar Discussion Notes 20% (2 in 1st term, 2 in 2nd term)
3. Participation 10%
4. Take Home Final Exam 20%
DESCRIPTION OF ASSIGNMENT CATEGORIES
Lecture/Seminar Discussion Notes
Brief, concise discussions (ca. one page, 250-500 words) of the correlations
between (first term) readings and lectures or (second term) readings/lectures and
seminar discussion; please do NOT use point form, but simple, clear sentences
Short Essays exercises in coherent formulation of complex issues; see general suggestions
Final Exam synthetic essay on music and society
EVALUATION AND ASSIGNMENTS, ASSIGNMENT SCHEDULE:
Type of Assignment Weight Due Date
Notes 1: Merriam text/lecture 5% Sept 30
Essay 1: musical function 10% Oct 14
Notes 2: Becker text/lecture 5% Oct 21
Essay 2: words & music 10% Nov 18
Notes 3: Adorno text/lecture 5% Nov 25
Notes 4: Hall/Duffles text[/lecture]-seminar 5% Jan 20
Essay 3: music and the sacred 10% Feb
Essay 4: musical subcultures 10% Mar 9
Essay 5: writing about music 10% Mar 30
Take Home Final 20% exam period
TERM ONE
Date Topic Reading Some Key Ideas||Musical Cases
Sept. 16 Introduction Music and Society as a problem; course expectations
Sept. 23 Uses and Functions Merriam Kit #3 Uses/functions; communication, solidarity, culture||TV
commercials, pop songs, hymns
Sept. 30 Education I Aristotle Kit #1 leisure, entertainment, modes||heavy metal, classical
music, children’s songs
Oct. 7 Education II Aristotle, Ostrofsky
Kit #2
social good, body & mind, social qualities, modes ||heavy
metal, classical music, children’s songs
Oct. 14 Roles Becker Kit #4 artworld, social action, division of labour, convention
||Partch, Ives, jazz
Oct. 21 Genre online genre, style
Oct. 25-31
Reading Week beer & wine menus chilling out, being cool, checking out good books & films
Nov. 4 Words I Frith Words
Kit #5
Content analysis, lyrical realism, authenticity, selfexpression
Nov. 11 Words II 33 1/3: ch. 3 intro,
K Cooper
Lyrical realism in theory and practice || 6 versions of
“Creep” [see web links, Required Texts, page 2]
Nov. 18 Song & Society I Adorno Kit#6 popular/serious, standardization, pseudo-individuality
Nov. 25 Song & Society II “ || Beethoven, jazz/thirties, contemporary pop
Dec. 2 Song & Society III Burke Kit #7 folk songs, popular songs
TERM TWO
Date Topic Reading, location Key Ideas||Musical Cases/Examples
Jan. 6 Dance Principle Hall Kit# 8; Duffles
(on Blog)
synchrony, entrainment, rhythm & physical action
||work songs, dance music
Jan. 13 “ “ characteristic rhythm, beat feeling||r&b, salsa, samba,
dance instruction videos
Jan. 20 Music and Social Space I Carpenter/
McLuhan Kit #13
Wikidrummer link
acoustic design, architecture; balance of the senses;
genre
Jan. 27 Music and Social Space II Frith, Everyday Life
Kit #14
music and noise
Feb. 3 Music and the Sacred I H. Nasr Kit #11 social demographics & values||Islamic & Middle
Eastern music
Feb. 10 Music and the Sacred
II/Social Collectives I
Sylvan Kit #10 social demographics & values||rave/trance, festivals
Feb. 15-20
Reading Week 50 Shades of Grey clumsy prose; literary ripoffs; demanding your money
back
Feb. 24 Social Collectives II Simon Kit #9 straight edge, mosh pit, dental hygiene
Mar. 2 Social Collectives III Elvis, Kit #12 gender, class, status, subculture ||Elvis & related
Mar. 9 Writing About Music I 33 1/3: see Guide Scenes
Mar. 16 Writing about Music II 33 1/3: see Guide Criticism
Mar. 23 Writing about Music III 33 1/3: see Guide Sounds
Mar. 30 Writing about Music IV 33 1/3: see Guide Critique
4
HOW TO WRITE ABOUT MUSIC - A GUIDE
[meaningless without the formatting; please see the printed syllabus; this is just a list of the material we'll read, in NO order]]
OVERTURE: EXPERT ADVICE FROM OUR WRITERS
EXPERT ADVICE FROM OUR WRITERS
[1] Ann Powers on Daft Punk's Random Access Memories
[1] Jim Derogatis on Simon and Garfunkel's Bookends
[1] Laurie Anderson on Animal Collective's Centipede Hz
[1] Lou Reed on Kanye West's Yeezus
TRACK-BY-TRACK
INTRODUCTION
Expert Advice from Our Writers
KIM COOPER ON NEUTRAL MILK HOTEL
INTRODUCTION
RICHARD MELTZER ON EVIL AND ROCK 'N' ROLL
JORDAN FERGUSON ON J DILLA
THE GO-BETWEENS: HOW IS MUSIC WRITING DIFFERENT?
ALTERNATIVES
INTRODUCTION
HOW IT SOUNDS
EXPERT ADVICE FROM OUR WRITERS
Andy Babiuk on the Beatles
*Owen Pallet on Katy Perry
Susan Fast on Led Zeppelin
John Perry on Jimi Hendrix
Writing Prompt: Isolated Tracks
THE GO-BETWEENS: DO YOU NEED TO KNOW HOW TO MAKE MUSIC TO WRITE ABOUT IT?
MUSIC SCENES
INTRODUCTION
Gina Arnold on Liz Phair's Guyville
Ross Simonini on Jamaican Rude Boys
Simon Morrison on Dance Clubs in Kosovo
[[Writing Prompt: Music Scenes]]
THE GO-BETWEENS: HOW HAS THE FIELD OF WRITING ABOUT MUSIC CHANGED?
CULTURAL CRITICISM
INTRODUCTION
Carl Wilson on Celine Dion
Chuck Klosterman on Eminem
Greil Marcus on Clarence Ashley
[[Writing Prompt: Cultural Criticism]]
Companion Website - See More At:
Http://www.bloomsbury.com/us/how-to-write-about-music-9781628920451/#sthash.hr52c5yd.dpuf
COURSE WORK POLICIES AND GUIDELINES:
· Part of the process involved in every reading assignment should be a search for relevant music to discuss, music that illustrates (or contradicts) the author's ideas. Students are requested to bring in music samples and examples for classroom discussion; this can be for the lecture hours as well as seminar.
· The total number of pages of assigned reading is not great, but most of the readings are challenging.
Where readings seem boring or irrelevant, be patient. As a rule, each piece should be read twice. Bring questions to tutorials and lecture.
· Short essays encourage clarity in the formulation of complex ideas. Abstract jargon, mere
opinion–whether yours or ours!—trite ideas, and padding of all kinds are discouraged; independence of thought and concision strongly encouraged. If you find in a particular case this requires more than three to four pages, rewrite immediately, cutting out empty verbiage and redundancy. Do not submit unless you stand behind what you have written, and believe it to be true. Creativity and intellectual risk-taking are also strongly encouraged; use these small essays to develop and explore your own ideas. All essays should have an intelligible and indicative title. Essays that have not been proofread will be returned unread & ungraded.
- Essays in the first term may be rewritten and resubmitted within two weeks of being returned. In return, the deadlines are fixed. No essays will accepted after the due date. Essays in the second term have a week’s grace for the deadline. Second term essays may only be rewritten with prior approval–which means explaining to your seminar leader what you understand to be wrong, and how you plan to fix it.
· Assignments will be both submitted and returned in seminar, not in lecture. They are due in seminar in the week listed in the table. As a rule, essays may NOT be submitted by e-mail; if–IF!--your instructor gives you permission, however, make SURE that your name and the essay title (in short form) is in the actual filename; unidentified essays will not be counted for course credit. Examples:
Guaranteed Delete: Acceptable [with instructor's permission ONLY!]:
Essay.doc BettyWindsorMusicalFunction.doc
Myessay.txt JohnWilsonMidtermessay.txt
CUST2045.docx AVyshinksyShootTheMadDogs.docx
-Definitive solutions are not expected (since this is too much to demand), nor are personal opinions about music (since they are irrelevant to the issues). Work toward your own formulations of the themes and questions.
Since the style and content of the essays will vary greatly from student to student, and from assignment to assignment, there are no absolute rules for length. However:
- Shorter is almost always better than longer; get to the point, and do not pad; four pages or 1,200 words is the normal maximum.
- Remember that the purpose is not simple-minded self-expression, but neither is it merely reproducing the ideas of the texts nor the instructors; think of these as the two extremes to avoid, and chart a path of self-discovery in and through the issues. In practical terms, don't be discouraged if your thoughts are not especially original at first, nor afraid if they are too original later!
- Because, unfortunately, so many books in this field are marred by balderdash, rubbish, and
bumblepuppy, it is best to consult with the instructor before relying on non-course texts and websites.
Never be afraid to try something new to you, nor to move into uncharted territory.
CELLPHONES & LAPTOPS:
It is no secret that cellphones, text messages, and FaceBook are significant classroom distractions, and present considerable hindrance to student participation. These distractions are both destructive and contagious. Any experienced public performer can tell you that even a single audience member who tunes out makes the whole communicative experience harder. If you zone out, believe me, folks, you take everyone with you to some very tangible extent. Therefore, cellphone use and text messaging, even just checking for messages, cannot be tolerated. If caught, you will asked politely but publicly to desist. If it happens again, you will be asked to leave. In return for this cooperation, we will arrange for breaks. If you simply cannot wait, sit by the door, leave quietly, and come back on a break.
For similar reasons, in class use of laptop computers is strongly discouraged. Both the lectures and
seminars are designed to stress conversation and dialogue over information. If there are formal lecture notes, they will be posted on Blackboard. The only note taking you will need should be occasional reminders of the discussion. As you can see from the evaluation and grade structure, memorization and cramming specious facts play no substantial role here. There again, frantically typing every word spoken is a distraction from listening and engagement with the course. Students who use their laptops for other than class-related purposes will be asked to leave.
LEARNING OUTCOMES:
On successful completion of the course, students in the course will have acquired:
1. Outstanding competitive multimedia focus
2. Globally cross-cultural artistic understanding
3. Greatly improved paraliterary development skills
4. Syntactically-enhanced textual revision perspectives
5. Labour-intensive time management skills impacted through positive enthusiasm
6. Cutting-edge tools for cross-platform rebranding and content repurposing
7. Metrics for monitoring analytics and incentivizing the expansion of bandwidth
In other words : what you learn from the course will depend on what you put into it. The aims and
purposes are defined in the introductory Overview. If you are not clear where we’re going, ask; we will
always have an answer! (And sometimes it will even be right.)
The following is a required addition to Trent University syllabi. But I want to mention that the
instructors of CUST 2045 take academic integrity very seriously, and do not tolerate academic dishonesty in any form. Especially given the nature of the course material, spotting plagiarism is easy for us; please do not waste your time and endanger your academic career by trying it. If you are unsure if what you are doing represents academic dishonesty, ASK; speak with your seminar leader.
ACADEMIC INTEGRITY:
Academic dishonesty, which includes plagiarism and cheating, is an extremely serious academic offence and carries penalties varying from failure on an assignment to expulsion from the University. Definitions, penalties, and procedures for dealing with plagiarism and cheating are set out in Trent University’s Academic Integrity Policy. You have a responsibility to educate yourself – unfamiliarity with the policy is not an excuse. You are strongly encouraged to visit Trent’s Academic Integrity website to learn more: www.trentu.ca/academicintegrity.
ACCESS TO INSTRUCTION:
It is Trent University's intent to create an inclusive learning environment. If a student has a disability
and/or health consideration and feels that he/she may need accommodations to succeed in this course, the student should contact the Student Accessibility Services (SAS) at the respective campus as soon as possible,
Peterborough campus contact, (BH Suite 132, (705) 748-1281, Email: accessibilityservices@trentu.ca for
Trent University - Oshawa, contact 905-435-5102 ext. 5024 or email nancyhempel@trentu.ca. Complete text can be found under Excess to Instruction in the Academic Calendar.
TRENT UNIVERSITY
Cultural Studies Department
Cultural Studies 2045Y: Music and Society
Peterborough - FW 2015-2016
Course Director: Michael Morse mmorse@trentu.ca 748-1011 ext. xxx
Seminar Leaders: Matthew Lilko, Mahatma Kane Jeeves
Office Hours: by app't Office Location: TBA
Course Admin: Rosemary Devlin, SH 202 Email: cultstudies@trentu.ca Telephone: 1771
Lecture: Wednesday 10-11:50 SH 105 (Traill College)
Seminars: W 12-1 SH 102.1 || W 4-5 SH 102.1 || W 2-3 SH 102 || W 3-4 SH 102
OVERVIEW:
The simplest and least abstract idea of the correlation of music and society is, first, that the
“correlation” is not a contrast; music is always social, and no known society (except Scarborough) does not have some version of music; second, that music is a form of meaning, related to language but not the same; third, that music is a form of social action. As such, it is comparable to other forms of action, such as learning, business, art, romance, worship, entertainment, and friendship. Music is unusual in not only overlapping with these other forms of action, but through its integration with them. Music does not just accompany our daily lives, it inspires, animates, and gives meaning to its dimensions; a social view of music asks how this is possible.
To understand this complex form of human action, we will consider its most basic manifestations:
song, which integrates the rhythms of (poetic) words and tonal sound, and dance, which integrates the
rhythms of physical movement and sound. Beyond these basic principles, we will examine concepts such as context, the social integration of various forms of action in(to) the reality of particular situations; genre, the separation of music into different categories of meaning and value; authenticity, which may or may not guide us to musical truth. We will address music as a dimension of social history; how does music change and develop? Among the primary questions the course will pose: how can music be addressed in words, and what's the point of talking about it? How has the word "music" come to mean "popular music"? What are the social and historical origins of popular music? What are the relations between music and words? Do different types of music represent genuinely different or incompatible experiences? How are musical structures correlated to social structures?
Although no formal background of musical performance is required, developing disciplined
listening skills is a vital part of the curriculum. Without mental participation and intellectual involvement, you cannot understand the course, nor do the work. If you cannot commit to missing less than two lectures and seminars per term, this course is not for you. Reading, listening, lectures, and seminars are equally vital. The course tells a story; not a justification of the instructors’ tastes and prejudices, but an unfolding of how we think about music and experience it in different ways and contexts. Missing classes means skipping chapters, which eventually makes the story meaningless.
The skills the course aims to teach include improved reading comprehension; concise writing and
editing; increased facility in dealing rationally with abstractions; and seeing beyond relativism, and
personal opinion. About the last point: a large portion of the course is devoted to critically re-examining popular but misleading clichés about music. Unlike the subjects of other social science courses, few people start to think about music and society from scratch, without holding some unexamined assumptions that are as tenacious as they are demonstrably incorrect. The course must begin by clearing away these familiar misconceptions of what is “self-evident” about music.] Questions and discussion in the lecture hour are definitely encouraged!.
COURSE PREREQUISITES: Cultural Studies 1000Y or permission of the course director
COURSE FEE: none
REQUIRED (and recommended) TEXTS:
note: “Required” is in bold, because that’s what these materials are. Academic publishing is
presently in a crisis. We are all trying to do our part both to keep it alive, and to keep student
costs down as much as possible. Therefore we must insist that you acquire your own copies
of the two texts, and access to the online readings. If you cannot meet this requirement,
speak to your seminar leader before class.
- Coursepack of readings, available at the bookstore [note: this year’s coursepack is significantly different from last year’s! As above: please help keep academic publishing alive ]
- How to Write about Music, ed. By Marc Woolworth and Ally-Jane Grossan – We will not use this book until late in the first term, but please order it as soon as possible. Visit the website:
http://www.bloomsbury.com/us/search?q=how+to+write+about+music&gid=1
and you can choose between formats: paperback, pdf, or EPUB Book. All are reasonably priced, in the $22-25 range. [If for some cockamamy reason the link won’t work, Google “Bloomsbury Press,” and enter “How to Write about Music” in their search slot. If you purchase a paper copy, be sure to allow time for delivery before the November 11th class]
- Marilia Duffles, “Action Replay” [Jan. 6/13] is on the old course blog:
https://www.blogger.com/blogger.g?blogID=7852597585166292778#editor/target=post;postID=9116989379
326632016;onPublishedMenu=posts;onClosedMenu=posts;postNum=16;src=postname
- versions of “Creep” by Radiohead [Nov. 11]:
1. Radiohead: https://www.youtube.com/watch?v=XFkzRNyygfk
2. Haley Reinhart: https://www.youtube.com/watch?v=m3lF2qEA2cw
3. Karen Marie: https://www.youtube.com/watch?v=3Ub3vliRRXI
4. Elena [The Voice of Croatia contest]: https://www.youtube.com/watch?v=KHm585yVKxE
5. Daniela Andrade: https://www.youtube.com/watch?v=DDjlaN-X8-0
6. “Homeless Mustard”: https://www.youtube.com/watch?v=hXlzci1rKNM
- The Wikidrummer, https://www.youtube.com/watch?v=mY-f68J5PPo [Jan. 20/16]
Recommended: - this essay is a useful, readable intro to the Adorno piece [Nov. 18/25]:
https://listentobettermusic.wordpress.com/2014/08/16/on-popular-music-by-theodor-adorno/]
Strongly recommended: Strunk & White, Elements of Style [also available online:
http://www.bartleby.com/141/ or http://www.crockford.com/wrrrld/style.html ]
Writing Help:http://www.trentu.ca/academic/acadskills/
EVALUATION
1. 5 Short Essays 50% (2 in 1st term, 3 in 2nd term)
2. Lecture/Seminar Discussion Notes 20% (2 in 1st term, 2 in 2nd term)
3. Participation 10%
4. Take Home Final Exam 20%
DESCRIPTION OF ASSIGNMENT CATEGORIES
Lecture/Seminar Discussion Notes
Brief, concise discussions (ca. one page, 250-500 words) of the correlations
between (first term) readings and lectures or (second term) readings/lectures and
seminar discussion; please do NOT use point form, but simple, clear sentences
Short Essays exercises in coherent formulation of complex issues; see general suggestions
Final Exam synthetic essay on music and society
EVALUATION AND ASSIGNMENTS, ASSIGNMENT SCHEDULE:
Type of Assignment Weight Due Date
Notes 1: Merriam text/lecture 5% Sept 30
Essay 1: musical function 10% Oct 14
Notes 2: Becker text/lecture 5% Oct 21
Essay 2: words & music 10% Nov 18
Notes 3: Adorno text/lecture 5% Nov 25
Notes 4: Hall/Duffles text[/lecture]-seminar 5% Jan 20
Essay 3: music and the sacred 10% Feb
Essay 4: musical subcultures 10% Mar 9
Essay 5: writing about music 10% Mar 30
Take Home Final 20% exam period
TERM ONE
Date Topic Reading Some Key Ideas||Musical Cases
Sept. 16 Introduction Music and Society as a problem; course expectations
Sept. 23 Uses and Functions Merriam Kit #3 Uses/functions; communication, solidarity, culture||TV
commercials, pop songs, hymns
Sept. 30 Education I Aristotle Kit #1 leisure, entertainment, modes||heavy metal, classical
music, children’s songs
Oct. 7 Education II Aristotle, Ostrofsky
Kit #2
social good, body & mind, social qualities, modes ||heavy
metal, classical music, children’s songs
Oct. 14 Roles Becker Kit #4 artworld, social action, division of labour, convention
||Partch, Ives, jazz
Oct. 21 Genre online genre, style
Oct. 25-31
Reading Week beer & wine menus chilling out, being cool, checking out good books & films
Nov. 4 Words I Frith Words
Kit #5
Content analysis, lyrical realism, authenticity, selfexpression
Nov. 11 Words II 33 1/3: ch. 3 intro,
K Cooper
Lyrical realism in theory and practice || 6 versions of
“Creep” [see web links, Required Texts, page 2]
Nov. 18 Song & Society I Adorno Kit#6 popular/serious, standardization, pseudo-individuality
Nov. 25 Song & Society II “ || Beethoven, jazz/thirties, contemporary pop
Dec. 2 Song & Society III Burke Kit #7 folk songs, popular songs
TERM TWO
Date Topic Reading, location Key Ideas||Musical Cases/Examples
Jan. 6 Dance Principle Hall Kit# 8; Duffles
(on Blog)
synchrony, entrainment, rhythm & physical action
||work songs, dance music
Jan. 13 “ “ characteristic rhythm, beat feeling||r&b, salsa, samba,
dance instruction videos
Jan. 20 Music and Social Space I Carpenter/
McLuhan Kit #13
Wikidrummer link
acoustic design, architecture; balance of the senses;
genre
Jan. 27 Music and Social Space II Frith, Everyday Life
Kit #14
music and noise
Feb. 3 Music and the Sacred I H. Nasr Kit #11 social demographics & values||Islamic & Middle
Eastern music
Feb. 10 Music and the Sacred
II/Social Collectives I
Sylvan Kit #10 social demographics & values||rave/trance, festivals
Feb. 15-20
Reading Week 50 Shades of Grey clumsy prose; literary ripoffs; demanding your money
back
Feb. 24 Social Collectives II Simon Kit #9 straight edge, mosh pit, dental hygiene
Mar. 2 Social Collectives III Elvis, Kit #12 gender, class, status, subculture ||Elvis & related
Mar. 9 Writing About Music I 33 1/3: see Guide Scenes
Mar. 16 Writing about Music II 33 1/3: see Guide Criticism
Mar. 23 Writing about Music III 33 1/3: see Guide Sounds
Mar. 30 Writing about Music IV 33 1/3: see Guide Critique
4
HOW TO WRITE ABOUT MUSIC - A GUIDE
[meaningless without the formatting; please see the printed syllabus; this is just a list of the material we'll read, in NO order]]
OVERTURE: EXPERT ADVICE FROM OUR WRITERS
EXPERT ADVICE FROM OUR WRITERS
[1] Ann Powers on Daft Punk's Random Access Memories
[1] Jim Derogatis on Simon and Garfunkel's Bookends
[1] Laurie Anderson on Animal Collective's Centipede Hz
[1] Lou Reed on Kanye West's Yeezus
TRACK-BY-TRACK
INTRODUCTION
Expert Advice from Our Writers
KIM COOPER ON NEUTRAL MILK HOTEL
INTRODUCTION
RICHARD MELTZER ON EVIL AND ROCK 'N' ROLL
JORDAN FERGUSON ON J DILLA
THE GO-BETWEENS: HOW IS MUSIC WRITING DIFFERENT?
ALTERNATIVES
INTRODUCTION
HOW IT SOUNDS
EXPERT ADVICE FROM OUR WRITERS
Andy Babiuk on the Beatles
*Owen Pallet on Katy Perry
Susan Fast on Led Zeppelin
John Perry on Jimi Hendrix
Writing Prompt: Isolated Tracks
THE GO-BETWEENS: DO YOU NEED TO KNOW HOW TO MAKE MUSIC TO WRITE ABOUT IT?
MUSIC SCENES
INTRODUCTION
Gina Arnold on Liz Phair's Guyville
Ross Simonini on Jamaican Rude Boys
Simon Morrison on Dance Clubs in Kosovo
[[Writing Prompt: Music Scenes]]
THE GO-BETWEENS: HOW HAS THE FIELD OF WRITING ABOUT MUSIC CHANGED?
CULTURAL CRITICISM
INTRODUCTION
Carl Wilson on Celine Dion
Chuck Klosterman on Eminem
Greil Marcus on Clarence Ashley
[[Writing Prompt: Cultural Criticism]]
Companion Website - See More At:
Http://www.bloomsbury.com/us/how-to-write-about-music-9781628920451/#sthash.hr52c5yd.dpuf
COURSE WORK POLICIES AND GUIDELINES:
· Part of the process involved in every reading assignment should be a search for relevant music to discuss, music that illustrates (or contradicts) the author's ideas. Students are requested to bring in music samples and examples for classroom discussion; this can be for the lecture hours as well as seminar.
· The total number of pages of assigned reading is not great, but most of the readings are challenging.
Where readings seem boring or irrelevant, be patient. As a rule, each piece should be read twice. Bring questions to tutorials and lecture.
· Short essays encourage clarity in the formulation of complex ideas. Abstract jargon, mere
opinion–whether yours or ours!—trite ideas, and padding of all kinds are discouraged; independence of thought and concision strongly encouraged. If you find in a particular case this requires more than three to four pages, rewrite immediately, cutting out empty verbiage and redundancy. Do not submit unless you stand behind what you have written, and believe it to be true. Creativity and intellectual risk-taking are also strongly encouraged; use these small essays to develop and explore your own ideas. All essays should have an intelligible and indicative title. Essays that have not been proofread will be returned unread & ungraded.
- Essays in the first term may be rewritten and resubmitted within two weeks of being returned. In return, the deadlines are fixed. No essays will accepted after the due date. Essays in the second term have a week’s grace for the deadline. Second term essays may only be rewritten with prior approval–which means explaining to your seminar leader what you understand to be wrong, and how you plan to fix it.
· Assignments will be both submitted and returned in seminar, not in lecture. They are due in seminar in the week listed in the table. As a rule, essays may NOT be submitted by e-mail; if–IF!--your instructor gives you permission, however, make SURE that your name and the essay title (in short form) is in the actual filename; unidentified essays will not be counted for course credit. Examples:
Guaranteed Delete: Acceptable [with instructor's permission ONLY!]:
Essay.doc BettyWindsorMusicalFunction.doc
Myessay.txt JohnWilsonMidtermessay.txt
CUST2045.docx AVyshinksyShootTheMadDogs.docx
-Definitive solutions are not expected (since this is too much to demand), nor are personal opinions about music (since they are irrelevant to the issues). Work toward your own formulations of the themes and questions.
Since the style and content of the essays will vary greatly from student to student, and from assignment to assignment, there are no absolute rules for length. However:
- Shorter is almost always better than longer; get to the point, and do not pad; four pages or 1,200 words is the normal maximum.
- Remember that the purpose is not simple-minded self-expression, but neither is it merely reproducing the ideas of the texts nor the instructors; think of these as the two extremes to avoid, and chart a path of self-discovery in and through the issues. In practical terms, don't be discouraged if your thoughts are not especially original at first, nor afraid if they are too original later!
- Because, unfortunately, so many books in this field are marred by balderdash, rubbish, and
bumblepuppy, it is best to consult with the instructor before relying on non-course texts and websites.
Never be afraid to try something new to you, nor to move into uncharted territory.
CELLPHONES & LAPTOPS:
It is no secret that cellphones, text messages, and FaceBook are significant classroom distractions, and present considerable hindrance to student participation. These distractions are both destructive and contagious. Any experienced public performer can tell you that even a single audience member who tunes out makes the whole communicative experience harder. If you zone out, believe me, folks, you take everyone with you to some very tangible extent. Therefore, cellphone use and text messaging, even just checking for messages, cannot be tolerated. If caught, you will asked politely but publicly to desist. If it happens again, you will be asked to leave. In return for this cooperation, we will arrange for breaks. If you simply cannot wait, sit by the door, leave quietly, and come back on a break.
For similar reasons, in class use of laptop computers is strongly discouraged. Both the lectures and
seminars are designed to stress conversation and dialogue over information. If there are formal lecture notes, they will be posted on Blackboard. The only note taking you will need should be occasional reminders of the discussion. As you can see from the evaluation and grade structure, memorization and cramming specious facts play no substantial role here. There again, frantically typing every word spoken is a distraction from listening and engagement with the course. Students who use their laptops for other than class-related purposes will be asked to leave.
LEARNING OUTCOMES:
On successful completion of the course, students in the course will have acquired:
1. Outstanding competitive multimedia focus
2. Globally cross-cultural artistic understanding
3. Greatly improved paraliterary development skills
4. Syntactically-enhanced textual revision perspectives
5. Labour-intensive time management skills impacted through positive enthusiasm
6. Cutting-edge tools for cross-platform rebranding and content repurposing
7. Metrics for monitoring analytics and incentivizing the expansion of bandwidth
In other words : what you learn from the course will depend on what you put into it. The aims and
purposes are defined in the introductory Overview. If you are not clear where we’re going, ask; we will
always have an answer! (And sometimes it will even be right.)
The following is a required addition to Trent University syllabi. But I want to mention that the
instructors of CUST 2045 take academic integrity very seriously, and do not tolerate academic dishonesty in any form. Especially given the nature of the course material, spotting plagiarism is easy for us; please do not waste your time and endanger your academic career by trying it. If you are unsure if what you are doing represents academic dishonesty, ASK; speak with your seminar leader.
ACADEMIC INTEGRITY:
Academic dishonesty, which includes plagiarism and cheating, is an extremely serious academic offence and carries penalties varying from failure on an assignment to expulsion from the University. Definitions, penalties, and procedures for dealing with plagiarism and cheating are set out in Trent University’s Academic Integrity Policy. You have a responsibility to educate yourself – unfamiliarity with the policy is not an excuse. You are strongly encouraged to visit Trent’s Academic Integrity website to learn more: www.trentu.ca/academicintegrity.
ACCESS TO INSTRUCTION:
It is Trent University's intent to create an inclusive learning environment. If a student has a disability
and/or health consideration and feels that he/she may need accommodations to succeed in this course, the student should contact the Student Accessibility Services (SAS) at the respective campus as soon as possible,
Peterborough campus contact, (BH Suite 132, (705) 748-1281, Email: accessibilityservices@trentu.ca for
Trent University - Oshawa, contact 905-435-5102 ext. 5024 or email nancyhempel@trentu.ca. Complete text can be found under Excess to Instruction in the Academic Calendar.
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