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MUH 2019 4/11-4/15 participation sheets

by: Heya_Lanayia

MUH 2019 4/11-4/15 participation sheets MUH 2019

Marketplace > Florida State University > Music > MUH 2019 > MUH 2019 4 11 4 15 participation sheets
GPA 3.9

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About this Document

Filled out participation sheets from the week 4/11-4/15
Modern Popular Music
Chris Orr
Class Notes
25 ?




Popular in Modern Popular Music

Popular in Music

This 3 page Class Notes was uploaded by Heya_Lanayia on Wednesday April 27, 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 17 views. For similar materials see Modern Popular Music in Music at Florida State University.


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Date Created: 04/27/16
MUH sheet answers week of 4/11­4/15 th Worksheet: Wednesday, April 13 – The Internet Era 1. DISCUSSION QUESTION: (Napster debate between Chuck D and Lars Ulrich) – After watching this video, what is your opinion on the ethics of file sharing and music piracy? Do technologies like Napster and Ruckus represent a greater democratization of opportunity for musicians, or blatant stealing of intellectual property? It’s unethical and morally wrong to pirate music. Technologies such as Napster and Ruckus represent blatant stealing of intellectual property. The music belongs to the artist, and to take it without properly paying for it is stealing. 2. How did the advent of the iPod, and particularly its “shuffle” function, reflect a postmodern aesthetic in American popular culture? The advent of the iPod and particularly it’s “shuffle” function reflect a postmodern aesthetic by putting emphasis on the power of the individual. With the iPod people were enabled to build their own libraries, and with the shuffle function were enabled to change the order the songs were played. 3. How has greater access to at-home recording and production technologies affected the structure of the music business? How has it influenced the sound of popular music itself? Greater access to at-home recording and production technologies have increased access to recording and production for the average musician, as well as giving the artist more freedom to release the music how an when they want. Artists are also enabled to make more money, as the middle man is cut out via greater access to at-home recording and production technologies. 4. What is fan-funded music? How does this promotional method reflect the ideology and music of the band Radiohead, who pioneered its use for their album, In Rainbows? Fan-funded music is when the fans are allowed to purchase an album through direct album, and they choose what they want to pay. This promotional method reflects the band’s love and trust towards their fans. This promotional method can also be seen as a reflection of how successful and popular the music was as the band made more money by selling less records. Worksheet: Friday, April 15 – (Electronic Dance Music) Ch. 83, “Electronica is in the House,” from Historia Electronica, by Simon Reynolds 1. How does the creative use of technology by EDM musicians echo earlier 20 th century avant-garde composers? (505) th Similar to the earlier 20 century composer EDM musicians would also disregard instruction manuals, and just start messing with the machines, and trying new techniques 2. How does the process of creating EDM subvert the traditional roles of creator, performer, and audience? How do these differences relate to the “site- specific” nature of the music? (505; 512-513) In EDM the creator just messes around with the machines in hopes of embarking upon the next big thing. The performer isn’t really existent, because everything is computer based. The EDM audience was no longer just listeners, but rather a part of the music. These differences were heightened by the site specific nature of the music. 3. How does the musical structure of EDM thwart expectations of which musical elements are most important or central? (505) The musical structure of EDM makes the way the notes are processed more important than how the notes are played. EDM’s musical structure also made receptiveness, build up and drop, and development through textual and rhythm central. 4. How does EDM blur the line between mind and body? (506) EDM blurs the lines between mind and body because it makes the body dance (via kinesthetic intelligence that affects the muscles and nerves), and the mind think (through intricate rhythmic detail, texture, and special depth). 5. How do DJs embody EDM’s abstract, disembodied and “posthuman aura?” (509) DJs embody EDM’s abstract, disembodied and “posthuman aura” by using many pseudonyms and remaining faceless to their fans. 6. In contrast to the Romantic ‘auteur’ ideal (as we saw in art rock), ideas in EDM “mostly emerge through __anonymous____________ _____processes__________ of ___collective____________ _____creativity__________ .” (509) 7. How might the use of the human voice in EDM evoke a postmodern aesthetic? (507) Using a human voice in EDM could evoke postmodern aesthetic by eliminating the anxiety that EDM isn’t “saying” anything, and therefore doesn’t carry meaning or benefit the soul.


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