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OFFICIAL
COURSE SCHEDULE
I. Mediated
Music as Communication and Culture
5
Jan 2004
Intro to the Course: What is Music?
12
Jan
Music
is a Cultural Practice
Christopher
Small (1998). “Prelude: Music and Musicking.” Musicking:
The Meanings of Performing and Listening. Hanover:
Wesleyan University Press, pp. 1-18
Tia
Denora (2000). “Music as a Device of Social Ordering.” Music
and Everyday Life. New York: Cambridge University
Press, pp. 109-150.
After
this class, you should be able to explain what it means
to study music “as a text” and “as a social practice.” Explain
why it is important to combine both approaches.
19
Jan
No class: Happy MLK Day!
26
Jan
Music,
Consumption, and the Politics of Culture
Theodore Graczyk (1996). “Rock Authenticity and Liberalism.” Rhythm and Noise: An Aesthetics of Rock. Durham: Duke University Press, pp. 218-226.
Ted
Friedman (1993) “Milli Vanilli and the Scapegoating
of the Inauthentic.” Bad Subjects: Political
Education for Everyday Life #9. Available online at
http://eserver.org/bs/09/Friedman.html.
Greg Dimitriadis (2001). “From Hip Hop to Rap: From
Live Performance to Mediated Narrative.”
Performing Identity/Performing Culture: Hip Hop
as Text, Pedagogy and Lived Practice. New York: Peter Lang, pp. 15-34.
After this class, you should be able to define “authenticity”
and explain how it changes across contexts.
2
Feb
Music in Audiovisual Media
Andrew Goodwin (1992). “A Musicology of the Image.”
Dancing in the Distraction Factory: Music Video,
Television, and Postmodernism. Minneapolis: University of Minnesota Press,
pp. 49-71.
Anahid Kassabian (2001). “How Music Works in Film.”
Hearing Film. New York: Routledge, pp. 37-60.
Rob
Harvilla (2003). “Radiohead Rorschach.” East
Bay Express (17 September). Available online at: http://www.eastbayexpress.com/issues/2003-09-17/music.html/1/index.html.
After this class, you should be able to explain the
different roles of music in audiovisual media.
II. Industry
and Culture
9
Feb
Corporations
Chapters from Keith Negus (1999). Music Genres and Corporate Cultures. New York: Routledge:
Everyone reads:
Chapter 2 “Corporate Strategy: Applying Order and Enforcing
Accountability” and Chapter 3 “Record Company Cultures
and the Jargon of Corporate Identity.”
The
following chapters are divided among groups. The starred
group will present the chapter to the class, and the
other group will be come with questions about the chapter.
Group
1: Chapter 4 “The Business of Rap”
Group
2: Chapter 5 “The Corporation, Country Culture,
and the Communities of Musical Production”
Group
3: Chapter 6 “The Latin Music Industry, the
Production of Salsa, and the Cultural Matrix”
Group
4: Chapter 7 “Territorial Marketing: International
Repertoire and World Music”
After this class, you should
be able to define “corporate culture” and why it is
important for understanding the music industry.
Explain the different strategies major labels use to
minimize their risks and maximize their profits.
16
Feb
Alternatives
to Major Labels
Stephen Lee (1995). “Re-Examining
the Concept of the ‘Independent’ Record Company: The Case
of Wax Trax! Records” Popular Music 14:1, pp.
13-31.
Lord Finesse, Mr. Dave, Wendy Day, and LS One (2002).
“How Not to Get Jerked!: The Hip Hop Elementary Roundtable.”
Rhythm and Business: The Political Economy of Black
Music, ed. Norman Kelley. New York: Akashic Books, pp. 235-254.
Wendy Day and Norman Kelley (2002). “Wendy Day: Advocate for Rappers (Interview
by Norman Kelley).” Rhythm
and Business: The Political Economy of Black Music, ed.
Norman Kelley. New York: Akashic Books, pp. 254-266
After this class, you should be able to explain how
the “independent” sectors of the music industry are similar
to and different from major labels.
23 Feb
Amateur Hour
Rob
Drew, Karaoke Nights: An Ethnographic Rhapsody. New
York: Rowman and Littlefield.
After this class, you should be able to describe the role of
amateurism in our mass mediated musical culture and economy.
1 March
Midterm Workshop: Bring a draft of your
paper to class.
8
March
Spring
Break 2004!
III. Technologies
15
March
Distribution
Peter Manuel (1993). “The Impact of Cassettes on the International
Recording Industry.” Cassette
Culture: Music and Technology in North India. Chicago: University of Chicago Press, pp.
21-35.
Steve Jones (2003). “Music That Moves: Popular Music,
Distribution and Network Technologies” Cultural
Studies
16(2): 213-232.
After this class, you should
be able to explain
some of the major issues around music distribution.
22
March
Studios: Mechanics and Industry of Recording (and Studio
Field Trip)
Brian
Eno (1983). “The Recording Studio as a Compositional Tool,
Part I.” Downbeat, pp. 56-7 (July).
Albin
Zak (2001). “Places and Tools,” in The
Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University
of California Press, pp. 97-127.
After
this class, you should be able to describe the parts
of a recording studio and how they work. Discuss how
these technologies enable different kinds of musicking
to take place than in a live performance.
29 March
Instruments and Media
Steve Waksman (1999). “Introduction: Going Electric,” and “Black Sound, Black Body: Jimi
Hendrix, the Electric Guitar, and the Meanings of Blackness.” Instruments of Desire: The Electric Guitar
and the Shaping of Musical Experience. Cambridge: Harvard University Press, pp. 1-13 and 167-206.
Mavis Bayton (1997). “Women and the Electric Guitar.”
Sexing the Groove, ed. Sheila Whitely.
New York: Routledge, pp. 37-49.
After this class, you should be able to explain how
musical instruments come to take on distinct cultural meanings,
using the example of the electric guitar.
5
April
Media
as Instruments
Tricia Rose (1994). “Give
me a (Break) Beat! Sampling
and Repetition in Rap Production.” Black Noise: Rap Music
and Black Culture in Contemporary America. Hanover: Wesleyan University Press, pp. 73-84.
Sarah Thornton (1996). “Authenticities from Record Hops to Raves.” Club Cultures: Music, Media and Subcultural
Capital. Hanover:
Wesleyan University Press, pp. 26-86.
After this class, you should be able to explain how
musicians have cometo use media like audio recording
to expand
the creative process.
12
April
Technology and Taste
Theodor
Adorno (1945/1993). “A Social Critique of Radio Music.” Radiotext(e),
ed. Neil Strauss. New York: Semiotext(e), pp. 272-279.
Marc Perlmann (2003). Consuming Audio: An Introduction to
Tweak Theory.” Music and Technoculture, eds. Rene T.A.
Lysloff and Leslie C. Gay, Jr. Middletown: Wesleyan University
Press,
pp. 346-357.
19 April
Final Project Due in my mailbox (1117CL) at noon.
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