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Martin Kevorkian, Chair CAL 226, Mailcode B5000, Austin, TX 78712 • 512-471-4991

Fall 2007

E 397N • Popular Music and Youth Subculture

Unique Days Time Location Instructor
36325 MW
11:00 AM-12:30 PM
MEZ 1.104

Course Description

Given the near-total neglect of popular music by musicology (fixated on Western classical music), the academic study of popular music has been dispersed across a number of fields, including anthropology, communications, English, history, and sociology. I propose in this course to survey the variety of serious analytical approaches to popular music, from the formalist work of musicologists (on harmony, etc.) to anthropological studies like Sara Cohen's Rock Music in Liverpool. The students' interests will dictate the genres covered, whether the blues, country & western, electronic (including industrial, disco, techno, and so forth), folk, jazz, rap, rock and roll, reggae, soul, or worldbeat. This will not be a "history of rock and roll" class: I'm interested not in what year Elvis emerged and which musics he combined, but in the question of what a sophisticated (i.e., academic) critical approach has to offer followers of contemporary music--and I should note that I'm not all that certain academics do have much to offer.

Given my doubts about academic approaches to popular music, I will try to make the course of considerable utility, odd as it may sound, to the study of literature. In discussing subcultures (or audiences), for example, we will emphasize more generally the examination of the actual social uses of texts both musical and literary (along the lines of cultural studies). In paying close attention to musical form or style (especially the voice) as well, however, we will also develop a strong text-based critical approach. My own work with music criticism has led to a strong material orientation to literary language. Such comparisons of literary criticism with music would include the dialogical theory of Mikhail Bakhtin and V.N. Volosinov (employed by George Lipsitz, for example, in relation to rock and roll), and the materialism of Walter Benjamin.


The course will be organized around the three areas of concern, taking a cultural-studies approach: production (economics); texts (or the music and its performers); and audiences (or subcultures). Keith Negus's Popular Music in Theory will be our main text. Other readings will include Negus's study of the music industry, Producing Pop; Lipsitz's Time Passages; Tim A. Taylor's Global Pop; Reebee Garofalo's Rockin' the Boat (on popular music in a variety of international political movements); Susan McClary's feminist musicological work in Feminine Endings and Rob Walser's study of heavy metal, Running with the Devil; Peter Wicke's Rock Music (an excellent blend of formalist and sociological approaches); Greil Marcus's history of punk and the avant-garde, Lipstick Traces; and work on rap such as Tricia Rose's Black Noise. Our sociological reading, on audiences or subcultures, will include Dick Hebdige's classic Subculture: The Meaning of Style, Deena Weinstein's Heavy Metal, and Cohen's Rock Music in Liverpool.


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