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
Office Hours: by app't
Seminar Leaders: Matthew Lilko, Mahatma Kane Jeeves
Course Admin: Rosemary Devlin Email: cultstudies@trentu.ca
Office Location: TBA 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 how music relates to society is 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.
This is a skills-based course. The course aims to teach improved reading comprehension; concise writing and editing; increased facility in dealing with abstractions rationally; 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 some unexamined assumptions that are as tenacious as they are demonstrably incorrect. The course must begin by clearing away these familiar misconceptions.]
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 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!]
- How to Write about Music, ed. By Marc Woolworth and Ally-Jane Grossan – We will use this book extensively, but not until late in the first term. 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. [If for some cockamamy reason the link won’t work, Google “Bloomsbury Press,” and enter “How to Write about Music” in their search slot.
-[this essay is a useful, readable intro to the Adorno piece: https://listentobettermusic.wordpress.com/2014/08/16/on-popular-music-by-theodor-adorno/]
- Marilia Duffles Action Replay is on the old course blog: https://www.blogger.com/blogger.g?blogID=7852597585166292778#editor/target=post;postID=9116989379326632016;onPublishedMenu=posts;onClosedMenu=posts;postNum=16;src=postname
- The Wikidrummer, https://www.youtube.com/watch?v=mY-f68J5PPo [for Jan. 20/16 discussion]
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/
DESCRIPTION OF ASSIGNMENT CATEGORIES
Lecture/Seminar 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:
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%
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, self-expression
Nov. 11 Words II 33 1/3: ch. 3 intro, K Cooper Lyrical realism in theory and practice
Nov. 18 Song & Society I Adorno Kit#6 popular/serious, function, boredom, standardization, style, pseudo-individuality, leisure || Beethoven, jazz/thirties, contemporary pop
Nov. 25 Song & Society II “ “
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 1 Scenes
Mar. 16 Writing about Music II 33 1/3: see Guide 2 Criticism
Mar. 23 Writing about Music III 33 1/3: see Guide 3 Sounds
Mar. 30 Writing about Music IV 33 1/3: see Guide 4 Critique
HOW TO WRITE ABOUT MUSIC - A GUIDE
We will not be using the entire text, but selections, and in different ways:
ALL CAPS bold text is required reading. In general, this is the material that will be discussed during lecture hour. Although the individual comments are often fairly simple, to make the most of them as an ensemble, it is best to read these sections twice, making critical annotations and noting questions where possible.
Indented Strikeout text will not be considered in class. In most cases, this is because the material is simply irrelevant, such as (often dubious) advice on how to become a professional rock critic; in my opinion, all of the “Writing Prompts” fall into this baleful category; your mileage may vary. In other cases, it is because the problems have been covered elsewhere in the course.
X* large number starred text: in weeks 1, 3, and 4, pick one of these pieces to read more carefully; bring a few critical comments to start a seminar discussion about its issues. Choose whichever piece most interests you. This does not require an elaborate study, nor a detailed report; a few introductory remarks, considering the piece as contribution to the problems at hand, is fine; 1-2 minutes will usually be sufficient.
Indented non-strikeout text is optional.
[x] bracketed numbered text is optional; but skimming through it is a good idea.
All readings from this book are keyed to the last four classes. Class codes:
1 = March 9
2 = March 16
3 = March 23
4 = March 30
[NOTE: please check through the entire guide for each week’s readings; the sequence in the course does not follow the sequence of the book, and several classes will involve passages from several different chapters]
Table of Contents
Foreword by Rick Moody
Introduction by Marc Woodworth
How to Use this Book
The Writers
1 OVERTURE: EXPERT ADVICE FROM OUR WRITERS
Chapter 1
The Album Review
Introduction
1 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
Writing Prompt: the Blind Review
Writing Prompt: Make it Better
The Go-betweens: How to Make Contacts
Chapter 2
The Live Review
Introduction
Expert Advice from Our Writers
2* Paul Morley on Joy Division at University College London
2* Zach Schonfeld on Spiritualized at Webster Hall
2* Charles Aaron on Hole
Writing Prompt: the Live Show
The Go-betweens: the Five Things Every Music Writer or Editor Needs
Chapter 3
2 TRACK-BY-TRACK
2 INTRODUCTION
Expert Advice from Our Writers
2 KIM COOPER ON NEUTRAL MILK HOTEL
[2] Mary Gaitskill on B-movie
[2] Tavi Gevinson on Taylor Swift
[2] Jonathan Lethem on Talking Heads
Writing Prompt: Track-by-track
The Go-betweens: How Did You Land Your Job?
Chapter 4
Analysis
3 INTRODUCTION
3 RICHARD MELTZER ON EVIL AND ROCK 'N' ROLL
[3] Luke Turner on Enya
[3] Brian Morton on Computer Music
3 JORDAN FERGUSON ON J DILLA
Writing Prompt: Late Style
3 THE GO-BETWEENS: OFF-BEAT ADVICE
Chapter 5
Chapter 6
2 THE GO-BETWEENS: HOW IS MUSIC WRITING DIFFERENT?
Chapter 7
Chapter 8
Chapter 9
4 ALTERNATIVES
4 INTRODUCTION
4* John Darnielle on Black Sabbath
4* Marty Davis on Black Flag
4* Rob Sheffield from Love Is a Mix Tape
4* Joe Deuel on Hüsker Dü
4* Campbell Mcgrath on Bob Dylan
Writing Prompt: the Annotated Mix Tape
Writing Prompt: Other Voices
Writing Prompt: Headlines from Titles
The Go-betweens: Desert Island Discs
Chapter 10
3 HOW IT SOUNDS
Introduction
3 EXPERT ADVICE FROM OUR WRITERS
3* Andy Babiuk on the Beatles
3* *Owen Pallet on Katy Perry
3* Susan Fast on Led Zeppelin
3* John Perry on Jimi Hendrix
Writing Prompt: Isolated Tracks
3 THE GO-BETWEENS: DO YOU NEED TO KNOW HOW TO MAKE MUSIC TO WRITE ABOUT IT?
Chapter 11
1 MUSIC SCENES
1 INTRODUCTION
1* Gina Arnold on Liz Phair's Guyville
1* Ross Simonini on Jamaican Rude Boys
1* Simon Morrison on Dance Clubs in Kosovo
[[Writing Prompt: Music Scenes]]
4 THE GO-BETWEENS: HOW HAS THE FIELD OF WRITING ABOUT MUSIC CHANGED?
Chapter 12
4 CULTURAL CRITICISM
4 INTRODUCTION
4* Carl Wilson on Celine Dion
4* Chuck Klosterman on Eminem
4* Greil Marcus on Clarence Ashley
[[Writing Prompt: Cultural Criticism]]
The Go-betweens: Words of Advice to the Lonely Music Critic
Chapter 33 1/3
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 actor, musician, or lecturer 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 a degree, and make it harder all around. 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, we will arrange for breaks.) If you simply cannot wait, sit by the door, leave quietly, and come back on a break. That’s considerably less distracting than texting in class!
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, students in the course will have acquired:
- Outstanding competitive multimedia focus
- Globally cross-cultural artistic understanding
- Greatly improved paraliterary development skills
- Syntactically-enhanced textual revision perspectives
- Labour-intensive time management skills impacted through positive enthusiasm
- Cutting-edge tools for cross-platform rebranding and content repurposing
- 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 Access to Instruction in the Academic Calendar.
Cultural Studies Department
Cultural Studies 2045Y: Music and Society
Peterborough FW 2015-2016
Course Director: Michael Morse mmorse@trentu.ca 748-1011 ext. xxx
Office Hours: by app't
Seminar Leaders: Matthew Lilko, Mahatma Kane Jeeves
Course Admin: Rosemary Devlin Email: cultstudies@trentu.ca
Office Location: TBA 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 how music relates to society is 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.
This is a skills-based course. The course aims to teach improved reading comprehension; concise writing and editing; increased facility in dealing with abstractions rationally; 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 some unexamined assumptions that are as tenacious as they are demonstrably incorrect. The course must begin by clearing away these familiar misconceptions.]
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 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!]
- How to Write about Music, ed. By Marc Woolworth and Ally-Jane Grossan – We will use this book extensively, but not until late in the first term. 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. [If for some cockamamy reason the link won’t work, Google “Bloomsbury Press,” and enter “How to Write about Music” in their search slot.
-[this essay is a useful, readable intro to the Adorno piece: https://listentobettermusic.wordpress.com/2014/08/16/on-popular-music-by-theodor-adorno/]
- Marilia Duffles Action Replay is on the old course blog: https://www.blogger.com/blogger.g?blogID=7852597585166292778#editor/target=post;postID=9116989379326632016;onPublishedMenu=posts;onClosedMenu=posts;postNum=16;src=postname
- The Wikidrummer, https://www.youtube.com/watch?v=mY-f68J5PPo [for Jan. 20/16 discussion]
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/
DESCRIPTION OF ASSIGNMENT CATEGORIES
Lecture/Seminar 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:
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%
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, self-expression
Nov. 11 Words II 33 1/3: ch. 3 intro, K Cooper Lyrical realism in theory and practice
Nov. 18 Song & Society I Adorno Kit#6 popular/serious, function, boredom, standardization, style, pseudo-individuality, leisure || Beethoven, jazz/thirties, contemporary pop
Nov. 25 Song & Society II “ “
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 1 Scenes
Mar. 16 Writing about Music II 33 1/3: see Guide 2 Criticism
Mar. 23 Writing about Music III 33 1/3: see Guide 3 Sounds
Mar. 30 Writing about Music IV 33 1/3: see Guide 4 Critique
HOW TO WRITE ABOUT MUSIC - A GUIDE
We will not be using the entire text, but selections, and in different ways:
ALL CAPS bold text is required reading. In general, this is the material that will be discussed during lecture hour. Although the individual comments are often fairly simple, to make the most of them as an ensemble, it is best to read these sections twice, making critical annotations and noting questions where possible.
Indented Strikeout text will not be considered in class. In most cases, this is because the material is simply irrelevant, such as (often dubious) advice on how to become a professional rock critic; in my opinion, all of the “Writing Prompts” fall into this baleful category; your mileage may vary. In other cases, it is because the problems have been covered elsewhere in the course.
X* large number starred text: in weeks 1, 3, and 4, pick one of these pieces to read more carefully; bring a few critical comments to start a seminar discussion about its issues. Choose whichever piece most interests you. This does not require an elaborate study, nor a detailed report; a few introductory remarks, considering the piece as contribution to the problems at hand, is fine; 1-2 minutes will usually be sufficient.
Indented non-strikeout text is optional.
[x] bracketed numbered text is optional; but skimming through it is a good idea.
All readings from this book are keyed to the last four classes. Class codes:
1 = March 9
2 = March 16
3 = March 23
4 = March 30
[NOTE: please check through the entire guide for each week’s readings; the sequence in the course does not follow the sequence of the book, and several classes will involve passages from several different chapters]
Table of Contents
Foreword by Rick Moody
Introduction by Marc Woodworth
How to Use this Book
The Writers
1 OVERTURE: EXPERT ADVICE FROM OUR WRITERS
Chapter 1
The Album Review
Introduction
1 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
Writing Prompt: the Blind Review
Writing Prompt: Make it Better
The Go-betweens: How to Make Contacts
Chapter 2
The Live Review
Introduction
Expert Advice from Our Writers
2* Paul Morley on Joy Division at University College London
2* Zach Schonfeld on Spiritualized at Webster Hall
2* Charles Aaron on Hole
Writing Prompt: the Live Show
The Go-betweens: the Five Things Every Music Writer or Editor Needs
Chapter 3
2 TRACK-BY-TRACK
2 INTRODUCTION
Expert Advice from Our Writers
2 KIM COOPER ON NEUTRAL MILK HOTEL
[2] Mary Gaitskill on B-movie
[2] Tavi Gevinson on Taylor Swift
[2] Jonathan Lethem on Talking Heads
Writing Prompt: Track-by-track
The Go-betweens: How Did You Land Your Job?
Chapter 4
Analysis
3 INTRODUCTION
3 RICHARD MELTZER ON EVIL AND ROCK 'N' ROLL
[3] Luke Turner on Enya
[3] Brian Morton on Computer Music
3 JORDAN FERGUSON ON J DILLA
Writing Prompt: Late Style
3 THE GO-BETWEENS: OFF-BEAT ADVICE
Chapter 5
Chapter 6
2 THE GO-BETWEENS: HOW IS MUSIC WRITING DIFFERENT?
Chapter 7
Chapter 8
Chapter 9
4 ALTERNATIVES
4 INTRODUCTION
4* John Darnielle on Black Sabbath
4* Marty Davis on Black Flag
4* Rob Sheffield from Love Is a Mix Tape
4* Joe Deuel on Hüsker Dü
4* Campbell Mcgrath on Bob Dylan
Writing Prompt: the Annotated Mix Tape
Writing Prompt: Other Voices
Writing Prompt: Headlines from Titles
The Go-betweens: Desert Island Discs
Chapter 10
3 HOW IT SOUNDS
Introduction
3 EXPERT ADVICE FROM OUR WRITERS
3* Andy Babiuk on the Beatles
3* *Owen Pallet on Katy Perry
3* Susan Fast on Led Zeppelin
3* John Perry on Jimi Hendrix
Writing Prompt: Isolated Tracks
3 THE GO-BETWEENS: DO YOU NEED TO KNOW HOW TO MAKE MUSIC TO WRITE ABOUT IT?
Chapter 11
1 MUSIC SCENES
1 INTRODUCTION
1* Gina Arnold on Liz Phair's Guyville
1* Ross Simonini on Jamaican Rude Boys
1* Simon Morrison on Dance Clubs in Kosovo
[[Writing Prompt: Music Scenes]]
4 THE GO-BETWEENS: HOW HAS THE FIELD OF WRITING ABOUT MUSIC CHANGED?
Chapter 12
4 CULTURAL CRITICISM
4 INTRODUCTION
4* Carl Wilson on Celine Dion
4* Chuck Klosterman on Eminem
4* Greil Marcus on Clarence Ashley
[[Writing Prompt: Cultural Criticism]]
The Go-betweens: Words of Advice to the Lonely Music Critic
Chapter 33 1/3
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 actor, musician, or lecturer 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 a degree, and make it harder all around. 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, we will arrange for breaks.) If you simply cannot wait, sit by the door, leave quietly, and come back on a break. That’s considerably less distracting than texting in class!
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, students in the course will have acquired:
- Outstanding competitive multimedia focus
- Globally cross-cultural artistic understanding
- Greatly improved paraliterary development skills
- Syntactically-enhanced textual revision perspectives
- Labour-intensive time management skills impacted through positive enthusiasm
- Cutting-edge tools for cross-platform rebranding and content repurposing
- 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 Access to Instruction in the Academic Calendar.
