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Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 3. und 4. Stunde
Reinfandt, Christoph (2023)
clipboard
mla
clipboard		 Reinfandt C. "Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 3. und 4. Stunde.", timms video, Universität Tübingen (2023): https://timms.uni-tuebingen.de:443/tp/UT_20231102_001_ws2324rockpop_0001. Accessed 21 Nov 2024.
apa
clipboard		 Reinfandt, C. (2023). Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 3. und 4. Stunde. timms video: Universität Tübingen. Retrieved November 21, 2024 from the World Wide Web https://timms.uni-tuebingen.de:443/tp/UT_20231102_001_ws2324rockpop_0001
harvard
clipboard		 Reinfandt, C. (2023). Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 3. und 4. Stunde [Online video]. 2 November. Available at: https://timms.uni-tuebingen.de:443/tp/UT_20231102_001_ws2324rockpop_0001 (Accessed: 21 November 2024).
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title: Vorlesung The Singer-Songwriter Paradigm in Rock and Pop Music, 3. und 4. Stunde
alt. title: Lecture The Singer-Songwriter Paradigm in Rock and Pop Music, 3. and 4. Lesson
creator: Reinfandt, Christoph (author)
subjects: Singer-Paradigm, Songwriter-Paradigm, Rock Music, Pop Music, Aesthetic Attachment, Interpreting Recorded Popular Song, Authenticity, Romanticism, Modernism, Lecture, Vorlesung
description: Vorlesung im WiSe 2023-2024; Donnerstag, 02. November 2023
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: 2023-11-02
dc type: image
localtype: video
identifier: UT_20231102_001_ws2324rockpop_0001
language: eng
rights: Url: https://timmsstatic.uni-tuebingen.de/jtimms/TimmsDisclaimer.html?638677785415652237