Week 1

05/10/2016 Introduction—Issues in Popular Music Culture
(Dr Simon McKerrell)

Introduction to module, Disciplinary terms: Vernacular Music, Folk Music, Traditional Music, Popular Music, Popular Music Studies, Ethnomusicology, Music Sociology, Empirical Musicology, Radical Musicology, Anthropology, Folklore, Performance Studies.
This week we will look broadly at the idea of music-as: social practice; sonic object; social process; pure music; canon; community; commodity; oral history; functional (e.g. work songs, dance music), etc. and how these views shape approaches to music, and the questions we ask.
Essential Reading
Kassabian, Anahid. (1999) ‘Popular’ in Swiss, T. & Horner, B. (1999) Key Terms in Popular Music and Culture Oxford: Blackwell Publishing Ltd., pp.113-123.
Additional Reading
Clayton, M., T. Herbert, & R. Middleton (eds.). (2003) The Cultural Study of Music New York: Routledge.
Cook, Nicholas (2000) Music: a very short introduction, Oxford: Oxford University Press.
Middleton, Richard. (2006) Voicing the Popular: On the subjects of Popular Music New York: Routledge.
Hobsbawm, Eric. (1983). “Introduction: Inventing Traditions.” In Eric Hobsbawm and Terence Ranger (eds.), The Invention of Tradition, Cambridge: Cambridge University Press, pp.1-14.
06/10/2016 Seminar student introduction to **www.ispopmus.com** wiki (Matthew Ord)

Week 2 NOTE CHANGE OF TIME FOR LECTURE and venue change:
Tuesday 9-11am in Teaching Room 10, Stevenson Building STB.T.10 (3.12).
See map here **http://www.ncl.ac.uk/media/wwwnclacuk/abouttheuniversity/files/campus-map.pdf**

11/10/2016 NOTE CHANGE OF TIME/VENUE THIS WEEK Understanding Gender (Simon McKerrell)
Essential Reading
Biddle, Ian. (2009) ‘Introduction(s)’ to Masculinity and Western Music Practice, Ian Biddle & Kirsten Gibson (eds.), Farnham: Ashgate.
O'Shea, Helen. (2008) “‘Good Man, Mary!’: Women Musicians and the Fraternity of Irish Traditional Music,” Journal of Gender Studies 17, no. 1, pp. 55–70.
Additional Reading
Ceribasic, Naila. “Defining women and men in the context of war: Images in Croatian Popular Music in the 1990s” in Music and Gender, eds. Pirkko Moisala & Beverley Diamond, (2000), Chicago: University of Illinois Press, pp.219-38.
Dibben, Nicola. (1999) ‘Representations of Femininity in Popular Music’ Popular Music, 18(3), pp.331-355.
Monson, Ingrid. ‘Music and the Anthropology of Gender and Cultural Identity’ in Women and Music: a Journal of Gender and Culture, i (1997), pp.24–32.

13/10/2016 Seminar (Matthew Ord)

Week 3

19/10/2016 Class and popular music culture (Dr Simon McKerrell)

Essential Reading
Derek Scott, (2001) 'Music and Social Class', Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press), pp. 544-567.
Wiseman-Trowse, Nathan. 2008. Performing Class in British Popular Music (Basingstoke: Palgrave Macmillan)
Raymond Williams' entry for 'Class' in his Keywords
Richard Middleton's entry for 'Class' in the Continuum Encyclopedia of Popular Music of the World
20/10/2016 Seminar (Matthew Ord)

Week 4

26/10/2016 Semiotics, 'what can music say?' (Dr Simon McKerrell)
Essential Reading
Taruskin, Richard. (1982) ‘On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance’ The Journal of Musicology, 1(3), pp.338-349.
John Shepherd and Peter Wicke, Music and Cultural Theory (Cambridge: Polity Press, 1997).
Additional Reading
Diamond, Beverly. (2000) "Theory from Practice: First Nations Popular Music in Canada" Repercussions 7/8, pp.397-431.
Keil, Charles, & Steven Feld. (1994) Music Grooves: Essays and Dialogues Chicago: University of Chicago Press.
Small, Christopher. (1998) Musicking: The Meanings of Performing and Listening. Middletown: Wesleyan University Press, pp.1-18.

27/10/2016 Seminar, Tutorials (Matthew Ord)

Week 5

02/11/2016 Aesthetics: How does music make us feel? (Dr Simon McKerrell)
Essential Reading
DeNora, Tia. (2000) 'Musical Affect in Practice' in Music in everyday life, Cambridge University Press, pp.21-45.

Additional Reading
Barthes, Roland, ‘The Grain of the Voice’ in Image-Music-Text (Fontana, 1977).
Cook, Nicholas. (2001) ‘Theorizing Musical Meaning’ Music Theory Spectrum, Fall 2001, Vol. 23(2), pp.170–195.
Davies, Stephen, “Music” in Jerrold Levinson, ed., The Oxford Handbook of Aesthetics (Oxford 2003), pp.489-515.
Shusterman, Richard. (1992) Pragmatist Aesthetics, Living Beauty, Rethinking Art, pp.201-235.

03/11/2016 Seminar and tutorials (Matthew Ord)

Week 6

09/11/2016 (Matt Ord and Ivan Diaz-Burlinson)
Place and Popular Music Cultures

Newcastle focus—cities and soundscapes

Essential Reading
O’Flynn, John. (2007) ‘National Identity and Music in Transition: Issues of authenticity in a Global Setting’ in Music, National Identity and the Politics of Location, Between the Global and the Local, Ian Biddle & Vanessa Knights (eds.), Aldershot: Ashgate, pp.19-38.
Additional Reading
Smith, Susan J. (1994) ‘Soundscapes’ Area, 26/3, pp.232-40.
Stokes, Martin. (1994) Ethnicity, Identity and Music: The Musical Construction of Place, Berg, Oxford, (2nd edition 1997).

10/11/2016 Seminar and tutorials (Matthew Ord)

Week 7

16/11/2016 Politics and Popular Music (Dr Adam Behr)

Essential reading
Cloonan, Martin (1999), ‘Pop and the Nation-State – towards a theorisation’, Popular Music, 18(2), pp.193-207
Homan, Shane (2010), ‘Governmental as anything: live music and law and order in Melbourne’, Perfect Beat 11(2), pp.103-118, DOI:10.1558/prbt.v11i2.103
Negus, Keith (1996), Popular Music in Theory, Cambridge: Polity, Chapter 7, pp. 190-224
Additional Reading
Behr, Adam (2016), Cultural Policy and the Creative Industries’ in The Routledge Reader on the Sociology of Music by John Shepherd and Kyle Devine (eds.), London and New York: Routledge, pp. 277-286
Frith, Simon (1981) “’The magic that can set you free’: The Ideology of folk and the myth of the rock community”, Popular Music, 1, pp.159-168
Street, John (2013), Music and Politics, Cambridge: Polity, esp. Chapters 5 and 6, pp. 79-117
Weinstein, D. (2006) ‘Rock protest songs : so many and so few’ in The Resisting Muse: Popular Music and Social Protest byIan Peddie (ed.) Aldershot: Ashgate, pp. 3-16

17/11/2016 Seminar and Tutorials (Matthew Ord)

Week 8

23/11/2016 Multimodal analysis: music, image and text (Dr Simon McKerrell)
Essential Reading
Johnson, Mark L., and Steve Larson. 2003. ‘“Something in the Way She Moves”-Metaphors of Musical Motion’, Metaphor and Symbol, 18: 63–84 http://dx.doi.org/10.1207/S15327868MS1802_1
Van Leeuwen, Theo. 2004. Introducing Social Semiotics: An Introductory Textbook (Abingdon, Oxon: Routledge), pp. 179-207.
Van Leeuwen, Theo. 2012. ‘Multimodality and Rhythm’, The Encyclopedia of Applied Linguistics (Oxford: Blackwell Publishing Ltd) http://onlinelibrary.wiley.com/doi/10.1002/9781405198431.wbeal0832/abstract
24/11/2016 Seminar and tutorials (Matthew Ord)
Week 9

30/11/2016 How do songs mean?

Essential Reading
Allan F. Moore. (2012) Song Means: Analysing and Interpreting Recorded Popular Song, Farnham: Ashgate. [Read chapters 4, 5, 8.]

01/12/2016 Seminar and tutorials (Matthew Ord)

Week 10

07/12/2016 Race (Dr Simon McKerrell)

Essential Reading
Jon Stratton and Nabeel Zuberi (eds.) Black popular music in Britain since 1945
Potter, Russell A. (1995) ‘”Are you afraid of the mix of black and white?” Hip-hop and the Spectacular Politics of Race’, in Spectacular Vernaculars, Hip-hop and the Politics of Postmodernism, Russell A. Potter, Albany: State University of New York Press, pp.131-156.
Carby, Hazel. (2001) "What Is This 'Black' in Irish Popular Culture?" European Journal of Cultural Studies Vol. 4 (3): 325-349.
Additional Reading
Radano, Ronald. (2003) Lying up a nation: race and Black music Chicago: University of Chicago Press.
Bohlman, Philip V. (2007) ‘Erasure: displacing and misplacing race in twentieth-century music historiography’ in Western Music and Race by Julie Brown (ed.), Cambridge: Cambridge University Press, pp.3-23.

08/12/2016 Seminar and tutorials (Matthew Ord)

Week 11

In this week, you will have to be ready to present a 5 minute presentation on a particular song, artist or album analysing the music through one of the analytical approaches listed in your course (e.g. gender, race, place, technology, Marxism, etc.). You will not be expected to play any musical examples, however you will need to prepare notes for your presentation that deal with a specific example. YOU WILL ONLY HAVE A MAXIMUM OF 5 MINUTES TO PRESENT
15/12/2016 STUDENT PRESENTATIONS (continued)


11/01/2016 Student Presentations (and tutorials)

12/01/2016 Student Presentations (continued)

January 2016 Exam date to be confirmed

Questions: ispopmus@newcastle.ac.uk