MUH 2019 participation sheet from Feb. 29th- March 4th
MUH 2019 participation sheet from Feb. 29th- March 4th MUH 2019
Popular in Modern Popular Music
verified elite notetaker
Popular in Music
This 2 page Class Notes was uploaded by Heya_Lanayia on Wednesday March 16, 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 79 views. For similar materials see Modern Popular Music in Music at Florida State University.
Reviews for MUH 2019 participation sheet from Feb. 29th- March 4th
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 03/16/16
In-Class Worksheet: Friday, March 2nd– Alternative Rock in the 1990s - “Smells Like Teen Spirit” 1. Describe the two conflicting agendas that both utilized the term “alternative” in popular music during the 1990s. How does this tension relate to earlier debates over authenticity and commercialism in popular music? The first conflicting agenda valorized music that challenged the status quo. The second conflicting agenda was the music industry exploiting the authenticity of the music. This tension relates to earlier debates over authenticity and commercialism in popular music because at the time music that went against the status quo held great value because it was different. However, through mass marketing/ commercialism the music lost its authenticity. 2. In the late 1980s and early 90s a local genre of alternative rock emerged in Seattle called ___grunge_________. This sound represented a new fusion of previous indie rock styles, with _____distorted__________ guitar and feedback characteristic of Seattle postpunk bands, ___metal_______ and hardcore, along with ___dark_____ song lyrics characterized by brooding and angst-driven narratives about breaking out of personal struggles. 3. Describe changes to Sub Pop’s dominance over the local Seattle scene after grunge garnered nationwide attention. How might this process reflect a broader narrative of antagonism between indie labels and major record companies throughout the history of popular music? The local Seattle scene started to reject Sub Pop, because due to Grunge’s popularity the people started to see the label as a commercial gimmick. This process reflects the broader authenticity vs commercialism antagonism, which stems from the broader narrative of indie vs major record companies. Discussion Questions: Brackett Chapter 79, Grunge Turns to Scrunge 4. What fundamental contradictions between mainstream success and the ideology of 1990s alternative rock made it difficult for bands to achieve mainstream success with their credibility intact? What historical precedents can you think of, even from examples we have mentioned in class so far, that mirror this debate in popular music? To achieve mainstream success the music would have to appeal to wide audience, which strongly contradicts the nature of alternative rock. If an alternative band achieved mainstream success, then were they a legitimate alternative band? A possible example that mirrors this debate is Bob Dylan using an electric guitar. Upon taking a more mainstream musical approach his main audience questioned his credibility and legitimacy as a folk musician. 5. According to Weisbaard on page 474, how has the rise of indie/alternative rock brought about a revision of the dominant rock star ideology of the 1970s and 1980s? According to Weisbard the rise of indie/ alternative rock has now give marginal stars the same status as long time popular favorites. Another revision in dominant rock star ideology can be seen through rock stars no longer emphasizing their power, but instead taking a more modest approach. 6. In his conclusion, what does Weisbard mean by the term “cultural populism,” and how does this idea relate to what he sees as a way forward for alternative rock in the mainstream and rock in general? According to Weisbard ultural populism is a sense that the most popular can also be the best. Weisbard believes that without cultural populism rock would produce challenging and sophisticated work that would unite people, and be on major labels.
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'