MUH 2019 3/28-4/1 participation sheet
MUH 2019 3/28-4/1 participation sheet MUH 2019
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This 5 page Class Notes was uploaded by Heya_Lanayia on Tuesday April 26, 2016. The Class Notes belongs to MUH 2019 at Florida State University taught by Chris Orr in Spring 2016. Since its upload, it has received 21 views. For similar materials see Modern Popular Music in Music at Florida State University.
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Date Created: 04/26/16
MUH 2019 Participation sheet answers for 3/28/16-4/1/16 Worksheet: Monday, Wednesday, March 28 th –Glam &Disco Brackett Ch. 54 “I Have No Message Whatsoever” 1. How did the reception of Bowie’s bisexuality and androgynous dress in the United States differ from his experience in the U.K.? How might this reflect different attitudes toward sexual and gendered norms in each society in the 1970s? (309) In the US Bowie’s bisexuality and androgynous dress was much harder to accept, as the people in the US were judgmental and very surprised. However, in the UK the people were easy going and accepting of Bowie’s lifestyle. This reflects the US’s conservative attitude towards sexual and gender norms during the 1970s, versus the UK’s liberal attitude on the matter. 2. Why do you think Bowie felt that what he was doing did not align with the goals of the American Gay Rights movement at the time? It’s possible that David Bowie felt this way because he wasn’t shedding light on and working towards equality in the gay community (main purpose of the movement), but instead focused on drawing attention to and exploiting his bisexuality. 3. How does David Bowie explode the notion of authenticity in rock? Furthermore, how does Bowie work an ever-changing image and self-identity to his advantage as an artist and entertainer? By David Bowie saying he has no message in his music it makes us question the authenticity of what he’s writing about. If his music has no message, then is it still authentic? By Bowie constantly changing his image it allows him to constantly change his sound and as a result stay relevant. His constant image changing also prevents him from being put into a box, and confined to one sound. Bracket Ch. 57 Get On Up Disco, Andrew Kopkind 1. From the introductory notes, what are the three “tendencies” of disco music that emerged in the mid- to late 1970s? How these different types reflect the trajectory of disco from its subcultural emergence to mainstream dominance? The three “tendencies” of disco music that emerged in the mid to late 1970s include single repetitive rhythm tracks, kraft work and album oriented. These tendencies reflect disco’s trajectory from subcultural to mainstream as these tendencies are responsible for this trajectory. 2. Contrast disco with rock: How was disco a reaction against the values, aesthetics, audiences, and norms of rock culture? Disco went against the values, aesthetic, audiences, and norms of rock by embracing social dancing, rejecting the rock “artist”, and putting emphasis on the hit single. 3. Describe the relationship between disco and the gay community. How does this relationship change as disco develops and becomes more popular? Disco helped to strengthen the gay community. As disco developed and became more popular it encouraged the gay community to come out at faster rates 4. What is ironic about the reception of the group The Village People? How were they interpreted differently by gay and straight listeners? What might this say about the complexities of audience reception more generally? As a homosexual disco group it was very ironic for The Village People to be more accepted by the straight community, but seen as amusement to the gay community. The straight listeners loved The Village People’s music, and believe the group wasn’t actually gay, but instead it was a joke. The gay listeners were amused by the ironic / sarcastic lyrics, which the straight listeners took literally. In general this tells us that audience reception heavily relies on the social norms within the audience. Worksheet: Wednesday, Wednesday, March 30 – Madonna and the Production of Celebrity 1. Briefly describe the marketing strategy behind the promotion of a few superstar pop artists during the 1980s: Instead of widespread promotion for many artists, only a few stars were heavily promoted. This resulted in the production of a handful of mega stars. Bracket Ch. 63 Madonna and the Production of Identity 2. What are some of the key elements to Madonna’s success as a superstar? How do these relate to the manipulation of her public image through media? Key elements to Madonna’s success as a superstar include being a creator of multiple artistic alter ego, as well as a highly skilled manipulator of mass media. Another element to her success includes her ability to blur conceptions of race and sexuality. These elements allow her to constantly manipulate and change her style, and as a result prevent us from putting her in a box. 3. Why do you think Madonna has been “at war with feminists” throughout much of her career? On page 375, Paglia argues that Madonna both critiques and champions feminism. What is your opinion? Is Madonna a role model for the empowerment of women or an example of female objectification? Madonna has been “at wat with feminist” throughout her career because of the fine line she walks between female and empowerment and objectification through her racy and provocative videos. Feminists tend to categorize her work as objectification, and as a result fights against the movement. Paglia’s opinion is correct, because Madonna does indeed critique and champion feminism. By encouraging women to embrace their sexuality feminism is championed. However, the way she embraces her femininity can be seen as objectification, and consequently critiques the movement. Madonna is probably more of an example of female objectification, because even though her intent is to empower women she ends up objectifying them through her music. 4. On p. 376 Paglia mentions Madonna’s uncanny ability to re-appropriate symbols for her own purposes. What is an example of this that she gives, and how does it help Madonna’s success and impact as an pop artist? Paglia uses Madonna’s live video of “Dress You Up” as an example of Madonna re-appropriating symbols for her own purposes. This ability represents the western individualistic mindset, which draws attention to her, and expands her fan base. The larger her fan base is the more people she can impact, and become more successful. 5. How does Madonna interact with and comment upon her Catholic upbringing in her music? Madonna interacts with and comments of her Catholic upbringing by exploring and expressing buried paganism through her music. She also includes many religious references in her music. Worksheet: Friday, April 1t – Discussion Day 5 Ch. 76: Women in Rap 1. In the first part of the article excerpt, Farley decries the turn toward commercialism in hip hop and highlights a new push by several hip hop artists toward social activism. Why do you think that music critics, cultural commentators and even people within the creative world of hip hop were concerned with maintaining a sense of social activism in hip hop? Do you agree with Farley’s implied critiques of the direction in which the genre is going at this time? People are concerned with maintaining a sense of social activism in hip, because it maintains the music’s original purpose; speaking on, and shining light on political and social issues Farley is correct when describing the direction hip hop is heading. Hip hop is heading more towards violence, and further away from social activism and challenging government authorities. 2. What aspects of her music and career made Lauryn Hill an exceptional, rising star in the world of hip hop in the eyes of Farley and mainstream media? How do you think Hill represents a positive role model for aspiring female artists in the music industry? Aspects of Lauryn Hill’s music and career that made her a hip hop star include always striving to be better, constantly trying new techniques/ instruments, and rapping about real things that appealed to a diverse audience. Lauryn Hill is a positive role model for aspiring female artists because she shows that women rappers can be just as successful as men without compromising their values. Ch. 37b: “Beatlemania: Girls Just Want to Have Fun” 3. What is your reaction to the various theories proposed to account for the mass hysteria of teenaged girls over the Beatles? Do you find some more plausible than others? How do these theories reflect social norms of gender and sexuality in the early 1960s? How are those norms being challenged by this demographic? All the theories are logical, and are very plausible. These theories reflect the norms concerning the high sexual tension among girls, and the need to release it. 85b: “Chicks against the Machine” 4. To what degree do you think the virulent reactions to Maines’ comment are due to the gender of the group members? According to Tayler, what do these reactions say about stereotypes of country music fans and expectations of how country stars should act? Furthermore, what is your own opinion of Maines’ comment against the war in Iraq? It seems likely that a boys group would receive just as harsh reactions as a girls group. These reactions say that country music fans / stars should stereotypically be conservative Maines’ comment against the war in Iraq was valid, but very radical and poorly stated.
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