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