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As we enter week 2 and begin turning toward a relatively chronological view of topical-music history in the United States, here are a couple of accessible pieces that make good introductions to this work: (1) the story of "John Henry," one of the most popular American folk songs, and (2) an account of when it was always hammer time in folk music. Participation! In regard to the first piece, about John Henry — Think of a pop song you know and/or like that tells a story about a fictional character. (Examples: "Eleanor Rigby," "Major Tom," "Mr. Wendal," "St. Jimmy," or, relevant to us next week, Nina Simone's "Four Women"!) What is the story and theme of the song? Why did the author(s) choose to relate a fictional character instead of a real person? What work does a literary narrative do that a documentary account couldn't?
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In our first class, we had an exercise individually and together — an attempt to write down our initial conceptions of what a few foundational terms mean:
protest song propaganda song socially conscious song What's similar about those terms? What's different? Are they applied within certain contexts? A chief goal of this seminar will be to carry forward these preconceived notions and begin applying them to the music and theory we will encounter — and to see what changes, if anything, about them. Will they work the way we think they will? Will they require updating? Participation! Assist in creating that record by posting the definitions you wrote down during class, in the comments here. In our first class discussion, we've brought up the concept of culture and how it can be divided into different levels and claimed by certain social groups. In other UCSD comm courses, you've likely encountered the work of Stuart Hall, who was instrumental in creating the scholarly field of cultural studies — one of the first academics to suggest that the study of popular culture was as important as examining so-called "high" culture.
Consider that (alleged) difference between "high" and "low" culture, how those delineations have been presented to you, and where you straddle that line in your daily experience. Previously, on my personal blog, I looked back at a 1915 essay that was influential in establishing that binary — and the lasting effect it has on America's view of itself and its culture. Participation! Read the Van Wyck Brooks essay linked there (or here). What do you think about his perspective on American culture? Do we still divide the culture between this binary? For what purpose — what work is that doing, and for whom? Welcome! As mentioned here and in the syllabus, this blog will be run as an off-site place to continue and expand our discussions of protest songs, propaganda music, and the social movements with which each interacts and acts through. Looking forward to meeting all of you next Friday — in the meantime, the following short video from Vox is a good scene-setter for our explorations along a similar scope of history and genres. Bring to class any thoughts or questions spurred by this, especially in relation to the assigned readings! |
COMM 190
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