Schedule

2/1: INTRODUCTION: 1870s-1910s

Overview of the recording industry in the U.S./Beginnings of recorded sound

Recommended: Reebee Garofalo, “From Music Publishing to MP3: Music and

Industry in the Twentieth Century,” Provides a succinct history of the music

industry in the U.S.

Listening Session: Early acoustic recordings, tin pan alley, and an overview of early

recording technologies

 

2/8: WHAT IS A SUBCULTURE?

  Sarah Thornton, “The Social Logic of Subcultural Capital”

  Lucas Hilderbrand, excerpts from Paris is Burning: A Queer Film Classic. Read the

introduction through p. 33. Chapter 3 will be extremely useful for your projects, I

suggest at least skimming this or returning to it later

In class screening: Paris is Burning  (Jennie Livingston, 1990)

Other extremely helpful case studies to review as models for your projects:

  Sunaina Maira, “Identity Dub: The Paradoxes of an Indian American Youth

Subculture (New York Mix)”

  Ryan Hibbett, “What is Indie Rock?”

 

2/15: 1920s-1940s: Race and the Political Economy of Jazz

Ted Vincent, “The Community that Gave Jazz to Chicago”

Eric Porter, “’Dizzy Atmosphere’: The Challenge of Bebop”

Recommended: Andre Millard, “The Machines,” “Recorded Sound in the Jazz

Age,” David Suisman, “Co-Workers in the Kingdom of Culture: Black Swan

Records and the Political Economy of African American Music”

Listening Session: 1920s and 1930s—“the jazz age” and early electrical recordings,

crooners, swing. 1930s-40s. Big band swing, Bebop, Benny Goodman, Duke

Ellington, Soundies, Parker, Monk

 

2/22: Special topic: Louis Armstrong, Technology, and Jazz

CLASS MEETS AT THE LOUIS ARMSTRONG ARCHIVES, Rosenthal Library . E

Second half of class back in classroom:

Folk, Hillbilly, & “Race” music: Authenticity and the Politics of Collecting

Benjamin Filene, “’Our Singing Country’: John and Alan Lomax, Leadbelly,

and the Construction of an American Past”

Louis M. Kyriakoudes, “The Grand Ole Opry and the Urban South”

Listening Session: Lomax prison and field recordings, The Carter Family, Leadbelly,

selections from The American Anthology of Folk Music , “Outsider” music.

Project pitch due (posted on blog). Must be signed up for presentation date by this

date.

 

3/1: 1950s, The Politics of Cover Songs

Michael Coyle, “Hijacked Hits and Antic Authenticity: Cover Songs, Race, and

Postwar Marketing” [*This reading is essential for the Musical Analysis

assignment]

Craig Werner, “Dylan, the Brits, and Blue-Eyed Soul”

Listening session: R&B, rock and roll, and rockabilly

 

3/8: No Class Meeting. Musical analysis post (draft) due by 6pm . By 3/10 send Prof. Herzog by email your self-evaluation, and post at least one peer-editing comment.

 

3/15: 1960s / Music Festivals & Music Factories

Ian Inglis, “‘Some Kind of Wonderful’: The Creative Legacy of the Brill Building”

Mark Anthony Neal, excerpt from What the Music Said

Joel Makower, excerpt from Woodstock: The Oral History

Listening session: More rock and roll, the “British Invasion,” psychedelia.

 

3/22: 1970s I : Disco and Dance Culture

Richard Dyer, “In Defense of Disco”

Peter Shapiro, excerpt from Turn the Beat Around

Gillian Frank, “Discophobia: Antigay Prejudice and the 1979 Backlash Against

Disco”

Listening Session: Progressive rock, disco, soul, sugary 8-track goodness.

By this date, you should have submitted 2 blog posts (in addition to your analysis

and project “pitch”) and 4 comments.

 

3/29: 1970s II: Glam Rock, and Punk

Jon Savage, excerpt from England’s Dreaming: Anarchy, Sex Pistols, Punk Rock,

and Beyond

Dawson Barrett, “DIY Democracy: The Direct Action Politics of U.S. Punk

Collectives”

Will Brooker, excerpt from Forever Stardust: David Bowie Across the Universe

Listening Session: Roxy Music, David Bowie, T-Rex, the Sex Pistols, the Clash, The

Ramones, Iggy and the Stooges, X-Ray Specs, The New York Dolls

Optional Cover Song Analysis revision due via hardcopy or email.

 

4/12: The Evolution of Rap and Hip Hop

Tricia Rose, excerpts from Black Noise: Rap Music and Black Culture in

Contemporary America

Cynthia Fuchs, “‘I’m From Rags to Riches’: The Death of Jay-Z”

Sarah Hankins, “So Contagious: Hybridity and Subcultural Exchange in Hip-

Hop’s Use of Indian Samples”

Recommended: Murray Forman, excerpts from The ‘Hood Comes First: Race,

Space, and Place in Rap and Hip-Hop

Listening Session: From Grandmaster Flash to Jay-Z to MIA.

Proposal and Annotated Bibliography Due.

 

4/19: Music, Gender, and Politics

McRobbie and Garber, “Girls and Subcultures”

Gayle Wald, “Just a Girl? Rock Music, Feminism, and the Cultural Construction

of Female Youth”

Excerpts from The Riot Grrl Collection

Ninjacate, “Solidarity is for Miley Cyrus: The Racial Implications of her VMA

Performance” http://groupthink.jezebel.com/solidarity-is-for-miley-cyrus-

1203666732

Listening Session: New Wave and 80s power pop

Select partner for Field Note workshopping, exchange email addresses

 

4/26: New Hybrid Marketing and the New Audiovisual Politics of Race & Gender.

  Case studies: Beyoncé’s Lemonade  and Frank Ocean’s Blond/Endless/Boys

Don’t Cry . See Blackboard for links to online debates related to both projects.

Bring 2 copies of Field Notes, for Prof. Herzog & your partner

 

5/3: Music & Gaming/ Music & Environments

Will Cheng, “Monstrous Noise and the Aesthetic Economies of Fear in Silent Hill ”

Karen Collins, “Implications of Interactivity: What Does It Mean for Sound to be

‘Interactive’?”

Jonathen Sterne, “Sounds Like the Mall of America: Programmed Music and the

Architectonics of Commercial Space”

Michael Bull, “The Audio-Visual iPod”

Peer feedback on Field Notes due

 

5/10: Sound, Torture, and Music as a Tool of Oppression

  Suzanne G. Cusick and Branden W. Joseph, “Across an Invisible Line: A

Conversation about Music and Torture”

  Martin Cloonan and Bruce Johnson, “Killing Me Softly with His Song”

  Matthew Sumera, “Understanding the Pleasures of War’s Audiovision”

By this date you should have submitted 4 blog posts (in addition to your analysis

and “pitch”) and 8 comments (total). No posts or extra credit assignments

accepted after this date.

Music projects due on 5/17 via email by 11:59PM. Papers turned in without having

previously submitted proposals, bibliographies, and field notes will not be accepted.

Absolutely no exceptions.

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