The Singer-Songwriter Paradigm in Rock and Pop Music
(14 Einträge)
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 1. und 2. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 1. und 2. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 26. Oktober 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-10-26 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Teaching Songs, Song, Performance, Track, Lecture, |
| Identifier: | UT_20231026_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 3. und 4. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 3. und 4. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 02. November 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-11-02 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Aesthetic Attachment, Interpreting Recorded Popular Song, Authenticity, Romanticism, Modernism, Lecture, |
| Identifier: | UT_20231102_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 5. und 6. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 5. und 6. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 09. November 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-11-09 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Textures, Analysing Recorded Popular song, Lecture, |
| Identifier: | UT_20231109_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 7. und 8. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 7. und 8. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 16. November 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-11-16 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Performance, Media Texture, Aesthetics of Rock, Emergence of Rock, Independence, Bob Dylan, Lecture, |
| Identifier: | UT_20231116_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 9. und 10. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 9. und 10. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 23. November 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-11-23 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Emancipation, Texture, Persistence, Performance, Sixto Rodriguez, Sugar Man, Van Morrison, Cyprus Avenue, Lecture, |
| Identifier: | UT_20231123_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 11. und 12. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 11. und 12. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 30. November 2023 |
| Creator: | Christoph Reinfandt (author), Thomas Gijswijt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-11-30 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Songwriting, Write a Song, Guest Lecture, Lecture, |
| Identifier: | UT_20231130_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 13. und 14. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 13. und 14. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 07. Dezember 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-12-07 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Classic Singer-Songwriters, Carole King / James Taylor, Joni Mitchell, Jackson Browne, Leonard Cohen, Lecture, |
| Identifier: | UT_20231207_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 15. und 16. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 15. und 16. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 14. Dezember 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-12-14 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Female Voices, Patti Smith, Melissa Etheridge, Aimee Mann, Fiona Apple, Feist, Feist, PJ Harvey, Lecture, |
| Identifier: | UT_20231214_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 17. und 18. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 17. und 18. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 21. Dezember 2023 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2023-12-21 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Roots Rock, Folk Rock, Pop Rock, Prog Rock, Art Rock, Lucinda Williams, John Hiatt, Richard Thompson, Gerry Rafferty, Mark Knopfler, Steven Wilson, Tamara Lindemann, Lecture, |
| Identifier: | UT_20231221_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 19. und 20. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 19. und 20. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 11. Januar 2024 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2024-01-11 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Satire, Irony, Politics, Protest Songs, 1960s, 1980s, Today, Bob Dylan, Jackson Browne, Ani DiFranco, Be an American, Randy Newman, A New England, Billy Bragg, State of the West, Lecture, |
| Identifier: | UT_20240111_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 21. und 22. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 21. und 22. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 18. Januar 2024 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2024-01-18 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Lost Cases, Lost Causes, Ventriloquism, Syd Barrett, Alternative Gospel, Bill Fay, Woody Guthrie, Billy Bragg, Wilco, Bob Dylan, Lecture, |
| Identifier: | UT_20240118_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 23. und 24. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 23. und 24. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 25. Januar 2024 |
| Creator: | Christoph Reinfandt (author), Carsten Schinko (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2024-01-25 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Love, Theft, Way to Nashphilly, Blackness, White (Indie) Mind, Soul, White Folks, Blackness in White Imagination, Contextual Reading, New York Post-Punk Scene, Case Studies, Performative Questions, Cat Power, Genre Mergers, Autotune Experiments, Kurt Wagner, Lambchop, Roots Manuva, Jeb Loy Nichols, Guest Lecture, Lecture, |
| Identifier: | UT_20240125_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 25. und 26. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 25. und 26. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 01. Februar 2024 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2024-02-01 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, De-Centrings, Blind Spots, Black Influences, Jimi Hendrix, Stevie Wonder, Joan Armatrading, Michael Kiwanuka, Indigenous Interlude, Willie Dunn, Singer-Songwriter/Hip-Hop-Crossover, Ed Sheeran, Plan B, Lecture, |
| Identifier: | UT_20240201_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 27. und 28. Stunde
| Title: | Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 27. und 28. Stunde |
| Description: | Vorlesung im WiSe 2023-2024; Donnerstag, 08. Februar 2024 |
| Creator: | Christoph Reinfandt (author) |
| Contributor: | ZDV Universität Tübingen (producer) |
| Publisher: | ZDV Universität Tübingen |
| Date Created: | 2024-02-08 |
| Subjects: | Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, De-Centrings, Digital Musicking, Björk, James Blake, Taylor Swift, Harp, Literature, Kae Tempest, Theatre Stage, Anais Mitchell, Lin-Manuel Miranda, Genres of Popular Music, Lecture, |
| Identifier: | UT_20240208_001_ws2324rockpop... |
| Rights: | Rechtshinweise |
| Abstracts: | This course of lectures will discuss the systematic contours of the work of singer/songwriters in the context of rock and pop music. Singer-songwriters' combination of lyrical expression, musical composition, recording technology and performance conventions established a paradigmatic core for rock music as the artistically and aesthetically ambitious variety of pop music from 1965 onwards, so much so, in fact, that the critical engagement with pop music has until recently been biased by what has been called rockism, i.e. the dismissal of pop music which does not fit this particular framework of evaluation and is thus deemed commercial and inauthentic. The lectures will try to clarify the main contours of the paradigm by presenting both a modelling of the paradigm's 'cultural work' on the threshold between print and digital media regimes in the evolution of modern culture at large and a modelling of an approach to analysing and interpreting recorded popular song. Examples will range from the classics (Bob Dylan, Joni Mitchell, Van Morrison, Jackson Browne) to more obscure (Sixto Rodriguez, anybody? Bill Fay?) and recent examples (Björk, P.J. Harvey, Sophie Hunger, Dodie, Ed Sheeran...). They will also address songwriting in various decentered contexts, either under the banner of group identities (Jeff Tweedy in Wilco, Mark Olver Everett's Eels) or in the context of ambitious stage productions (Anais Mitchell's Hadestown, Lin Manuel Miranda's Hamilton). |
