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MUS 503 > Midterm > Flashcards

Midterm Flashcards

1
Q

Discourse

A
  • The stuff people say, write or think about a given subject

- The distinctions between facts and the meanings we impose on them

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2
Q

Ideology

A
  • A set of political ideas, a “map of reality” that helps its adherents to understand and act in the world
  • Values, beliefs, and principles that are determined by societies in which they emerge and are held
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3
Q

Culture

A

People’s way of life learned and transmitted through centuries of adapting to the natural and human world

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4
Q

Ways communities are regulated

A

1) Goverment: democracy, dictatorship, monarchy
2) Laws
3) Economy

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5
Q

What is “industrial means of consumption”?

A

Distribution and consumption

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6
Q

What did Adorno claim about popular culture?

A

That it is deliberately engineered to keep us from thinking too deeply about the problems in the world in general, and in our own lives as individuals

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7
Q

What did Adorno have in common with Marx?

A

That if the general public stopped to think about wealth inequality in the world, there would be a revolution where the privileged class would be overthrown and wealth would be distributed more equally

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8
Q

Culture industry

A

The institution(s) that create cultural practices and products for sale on a mass scale

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9
Q

Commodification

A

Turning a culture practice into a thing that can be bought and sold

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10
Q

Standardization

A

In a capitalist society, popular culture is standardized, using the same formula to appeal to the masses

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11
Q

What does commodification lead to?

A

Standardization

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12
Q

What is standardization dependent on?

A

Novelty

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13
Q

What is the pop music contradiction?

A

A song must differ enough to attract attention but be familiar enough to not repel listeners

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14
Q

What week/topic is Simon Frith associated with?

A

Meaning in Music

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15
Q

What does Simon Frith claim?

A
  • We need a way of interpreting music in order to respond to it
  • The meanings we take from songs aren’t encoded within them
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16
Q

Aesthetics

A
  • Listening to music can be an aesthetic experience when we attend to it as “art”
  • Important philosophers: Adorno and Kant
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17
Q

Ontology

A

The fundamental elements that can be said to constitute a thing’s existence

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18
Q

Epistemology

A
  • The ability of music to be part of culture and to acquire meaning in relation to other activities
  • What we know about music and what is understand to be music in a given cultural context
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19
Q

Standard Western Ontology

A

Music is an object, a collection of elements that go into making a whole, distinct work

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20
Q

Sociological understanding of music

A
  • Music is a social process
  • The meaning of a “musical work” is not inherent in the text itself but is worked out through the interactions of subjects in a particular social context
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21
Q

Who termed “schemes of interpretation”?

A

Simon Frith

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22
Q

What are schemes of interpretation

A
  • Our response to a musical experience is based on internalized categories and learned behaviour
  • use value, rules of behaviour and modes of listening
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23
Q

Musical genres

A
  • Represent social divisions

- Built on discursive conventions and notions of authenticity

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24
Q

Musical canons

A

The body of rules, principles, or standards accepted axiomatic and universally binding in a field of study or art

e.g. Milton Babbit vs. The Beatles

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25
Q

What week/topic is Keith Negus associated with?

A

Music and identity

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26
Q

What does Keith Negus say?

A
  • The relationship between social groups and musical sounds
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27
Q

Identity

A
  • The characteristic qualities attributed to and maintained by individuals and groups of people
  • previously thought to be stable and innate, now more so as flexible, multi-faceted and contextual
28
Q

Bi-directional

A
  • How we want to be seen by others and how we are interpreted by others
29
Q

Essentialism

A

The view that there are embedded properties that define what something is and without which it could not be what it is

30
Q

Black music

A

A connection between a particular people and a specific music sound

31
Q

Sociobiological essentialism

A

Different races have distinct physical and mental capacities that result in their music sounding a certain way

32
Q

Musicological essentialism

A

Certain musics are characterized by intrinsic musical features

33
Q

Racial coding

A

When particular images, words, patterns of speech, music, and dress become associated with certain marginalized groups

34
Q

When does racial coding become problematic?

A

When people from outside the group use symbols claim to credibility or authenticity

35
Q

Subject

A

A being that is constituted by social, political and cultural forces

36
Q

Intersubjectivity

A

Significance of social events and cultural produced agreed upon by particular groups, things we collectively understand

37
Q

Agency

A

The capacity of a subject to engaged with the social structure

38
Q

Captial

A

Any resource, item, or property used in social exchange

39
Q

Exeptionalism

A

An essential, unchanging racial self that is good at certain things

40
Q

Salsa music

A

1) Based on Cuban musical practices
2) Expresses the lives and aspirations of working-class Puerto Ricans
3) Connects to a broader pan-latino consciousness in North America
4) A marketing term

41
Q

Rubén Blades

A

Composed and performed songs that refer to and use the language of lower-class latin communities

42
Q

Why was Rubén Blades problematic (according to Negus)?

A
  • Not Puerto Rican
  • Mixed race
  • Wealthy and educated
43
Q

Sex

A

An idea used to explain, categorize and understand our bodies (tied to biology, but given meaning through social relationships)

44
Q

Gender

A
  • A series of conventions around dress codes, public bodily behaviour and roles
  • A performance open to individual manipulation and external interpretation
45
Q

Sexuality

A
  • The cultural way of living our our bodily pleasures and desires
  • Fluid, changeable over time, influenced by external circumstances
46
Q

Articulation in popular music

A
  • A way of thinking about the connections between music makers and audiences
  • An alternative to essentialist notions of the links between groups of people to certain musical traits
47
Q

What week/topic is Allan Moore associated with?

A

Authenticity

48
Q

Authenticity

A
  • Undisputed origin or authorship
  • “Faithful to the original”
  • “Reliable, accurate representation”
49
Q

Mediation

A

Intervening forces between the artists and the audience (e.g. record labels, radio, censorship)

50
Q

Unmediated Expression

A

The communication of emotions directly without external influence

51
Q

First person authenticity

A
  • Can be traced back through a clean lineage to an original source
  • Audience accepts that they are receiving an unmediated experience
  • e.g. Bruce Springsteen, Adele, Sunday Bloody Sunday
52
Q

Second person authenticity

A
  • Relationship between the music and the listener’s sense of identity: mainstream/alternative, commercial/underground
  • e.g. Beatles vs The Monkees
53
Q

Third person authenticity

A
  • An artist succeeds in conveying an “accurate representation” of the music of another person/time
  • Assumption that social conditions become “embedded”
  • Creates a new community of interested listeners
  • e.g. Robert Johnson vs Eric Clapton
54
Q

Romanticism

A
  • Emphasis on emotion, tradition, nature, individual experience
  • Distrust in modern technology as obscuring “real” emotions
  • e.g. Drake, Bruce Springsteen, Oasis, Adele
55
Q

Modernism

A
  • Imagined to be progressive, committed to social change, questioning the past
  • Attempt to generate new forms of expresssion that are appropriate for contemporary social life
  • e.g. Kanye West, David Bowie, Blur, Lady Gaga
56
Q

What week/topic is Kristen Schilt associated with?

A

Music and feminism

57
Q

What does Kristen Schilt say?

A

Women are typically in the background of rock or associated with pop music, whereas men are associated with rock and authenticity

58
Q

Co-option

A
  • The process by which one group gains converts from another group by attempting to replicate the aspects that they find appealing without adopting the full program or ideals
  • Using the sounds and signs of a minority music as a way to claim that one is not racist, etc.
59
Q

What is an example of obvious misogyny in music?

A

“Used to Love Her But I Had to Kill Her” by Guns ‘n’ Roses

60
Q

What is an example of less obvious misogyny in music?

A

“Hotline Bling” by Drake

61
Q

Exscription

A
  • Exclusion of women, either literally or through exclusive focus on male codes
  • e.g. “Heading Out to the Highway” or Sister Rosetta Thrape
62
Q

Overt feminism in music

A
  • An explicit expression of a feminist ethos in performance
  • Focus on claiming space for women through music and resisting patriarchal structure
  • e.g. Bikini Kill
63
Q

Covert feminism in music

A
  • Focus on representation of women on stage and in the media
  • Enacted through visibility more than explicit content
  • e.g. Lilith Fair
64
Q

Consumer feminism in music

A
  • Through consumption habits and products
  • Tends to reproduce the male gaze
  • e.g. Spice Girls
65
Q

Profit imperative

A

Being able to sell something for more money than it cost to produce

  • Major labels chasing trends
  • Indie labels avoid this
66
Q

Historical model of capitalism

A

Broadcasting

67
Q

Modern model of capitalism

A

Narrowcasting/niche marketing

MUS 503 (3 decks)

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