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Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 25. und 26. Stunde
Reinfandt, Christoph (2024)
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mla
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Reinfandt C. "Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 25. und 26. Stunde.", timms video, Universität Tübingen (2024): https://timms.uni-tuebingen.de:443/tp/UT_20240201_001_ws2324rockpop_0001. Accessed 16 Apr 2024.
apa
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Reinfandt, C. (2024). Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 25. und 26. Stunde. timms video: Universität Tübingen. Retrieved April 16, 2024 from the World Wide Web https://timms.uni-tuebingen.de:443/tp/UT_20240201_001_ws2324rockpop_0001
harvard
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Reinfandt, C. (2024). Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 25. und 26. Stunde [Online video]. 1 February. Available at: https://timms.uni-tuebingen.de:443/tp/UT_20240201_001_ws2324rockpop_0001 (Accessed: 16 April 2024).
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title: Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 25. und 26. Stunde
alt. title: Lecture The Singer-Songwriter Paradigm in Rock and Pop Music, 25. and 26. Lesson
creator: Reinfandt, Christoph (author)
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, Vorlesung
description: Vorlesung im WiSe 2023-2024; Donnerstag, 01. Februar 2024
abstract: 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).
publisher: ZDV Universität Tübingen
contributor: ZDV Universität Tübingen (producer)
creation date: 2024-02-01
dc type: image
localtype: video
identifier: UT_20240201_001_ws2324rockpop_0001
language: eng
rights: Url: https://timmsstatic.uni-tuebingen.de/jtimms/TimmsDisclaimer.html?638488354820330585