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MUH 2019 3/21-3/25 worksheets

by: Heya_Lanayia

MUH 2019 3/21-3/25 worksheets MUH 2019

Marketplace > Florida State University > Music > MUH 2019 > MUH 2019 3 21 3 25 worksheets
GPA 3.9

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About this Document

Worksheet answers from 3/21-3/25
Modern Popular Music
Chris Orr
Class Notes
25 ?




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This 3 page Class Notes was uploaded by Heya_Lanayia on Wednesday March 30, 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 897 views. For similar materials see Modern Popular Music in Music at Florida State University.


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Date Created: 03/30/16
Worksheet: Monday, March 21 - Group Discussion Day #4 Ch. 73: Fear of a Rap Planet, J.D. Considine 1. Considine refers to a story from the magazine The New Republic which argues that hardcore rap is “little more than minstrelsy, cartoonish blacks doing their best to entertain thrill-seeking Caucasians.” How do you personally respond to this accusation? What are the possible implications of gansta rap’s popularity among young, white suburban listeners? Is it fair to call such music entertainment akin to a kind of contemporary minstrelsy? (442) To call rap minstrelsy seeking to entertain Caucasians is a rather exaggerated and inaccurate description of rap. The goal of rap music is not to depict stereotypes held by the Caucasian community, but rather to tell a story, as well as entertain all listeners. The implication of gansta rap’s popularity among young white suburban listeners is simply their interest in the African American lifestyle, which gets reflected in rap lyrics. It’s not fair to call such music akin to contemporary minstrelsy, because rap music doesn’t consist of lyrics depicting stereotypes held by the white community. This is not the case, gangsta rap is about the reality, and true experience of African Americans. 2. How does Chuck D explain the violent nature of gangta rap lyrics? How do Chuck D and Ice Cube suggest one should listen to and interpret the violence in hip hop texts? Do you agree with their perspectives? (442-444) According to Chuck D the violent nature of gangsta rap is actually the black community articulating their angers. Ice Cube and Chuck D believe people shouldn’t read so deeply into the lyrics, and/ or take them so seriously, but rather just listen to it and be entertained. Ice Cube and Chuck D are correct, but their suggestions are much easier said than done. The reason for this is because it’s nearly impossible to not be subconsciously influenced by the lyrics. Ch. 74: Nuthin’ but a “G” Thang 3. Snoop Dogg defends violence and misogyny in his lyrics by arguing that he only raps about his own experiences and what he knows, saying “I feel like it’s my job to play the backup role for parents who can’t get it across to their kids,” adding, “When my momma would whoop me and tell me, ‘You can’t do this,’ it made me want to go do that; I bring it to them rather than have them go find out about it for themselves.” Do you agree with Snoop Dogg’s justification? Are there problems with his approach to reaching youth with a positive message? How does this idea match with his role as an entertainer? (450-451) Snoop Dogg’s justification is logical, but it is flawed. Although it’s true that some kids will do something because their parents tell them not to, but this is not always the case. By rapping about these ideas he could also be planting fresh ideas into the heads of his listeners, and unknowingly subconsciously influence them. This idea and his role as an entertained don’t really match at all. Although he can also be a role model, it’s not necessary because as an entertainer his main job is to entertain. Ch. 75: Keeping it a Little Too Real 4. How does the sequence of events surrounding the deaths of Tupac Shakur and Biggie Smalls—as well as their music and careers as hip hop artists—blur the lines between depictions of violence in hardcore gangta rap and the actualization of violence in reality? The lines between depictions of violence in rap and the actualization of violence in reality are blurred because the two become one. The violence depicted in hardcore gangsta rap became real through the deaths of Tupac and Biggie Smalls. 5. In Natasha Stovall’s article on the death of Biggie Smalls, Chuck D is quoted as saying, “It’s bigger than rap. Until black people control our reality, not only will art imitate life, but life will start to imitate art.” What broader social realities is Chuck D referring to, and what implications might this quote offer to the debate over the culpability of music as a cause of violence? (455) The broader social realities Chuck D is referring to is black on black crime, especially among men under age 30. The quote reveals the circular cause and effect relationship between music and violence. Music not only reflects the violence of life, but life will also begin to reflect the violence of the music. Metal: A Headbanger’s Journey (2005) Directions: Follow along and fill in the blanks - to be used as a study guide for exam questions pertaining to heavy metal The director of this documentary film, Sam Dunn, is an anthropologist. The concise definition of anthropology that he gives in the opening of the film: __________The study of human cultures____________________________________ According to Dunn, what is the first true heavy metal band? _____Black Sabbath________________ What is the name of this band’s guitarist, credited with creating the first heavy metal riffs? __Tony Iommi______________________ Term for the so-called “devil’s note,” historically associated with evil and exploited in metal: ____Tri-tone_____________________ The most important band of the New Wave of British Heavy Metal (1979- 1983):___Iron Maiden_____________________ Musical Roots The two principle “musical roots” of heavy metal are _blues__________ and _slave music___________ Culture Name of major German heavy metal festival visited by Sam Dunn: _Wacken_________________ Censorship Nickname given to group of bands who were banned by the Parent’s Music Research Center:_ ___________The Filthy Fifteen____________________ Gender and Sexuality Heavy metal has always been ___Male___________ – dominated Display of strength and ability to “use tools effectively” part of the __Working____________ ____class__________ masculine ethos. Name of metal subgenre that incorporates-gender bending through effeminate dress: __Glam Metal___________________ First all-female metal band: _____Girlschool_______________ Religion and Satanism Symbolism from which major religion played the largest role in shaping heavy metal? _______Christianity_____________ Which country’s “chief cultural export is satanic black metal?” _____Norway_____________ Death and Violence Which controversial artist was the pioneer of extreme onstage violence? ___Allen Cooper_______________ Which band is seen as the most important group in the subgenre death metal? _Cannibal Corpse____________ Conclusion Why has metal been so heavily criticized, according to Sam Dunn at the conclusion of the documentary? “It confronts what we’d rather __ignore_______________” “It celebrates what we’d often ___deny____________” “It indulges in what we ____fear__________ ____most___________ “


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