160063 UE Critical Analysis of Popular Music (2018W)
Continuous assessment of course work
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Fr 07.09.2018 20:00 to Mo 24.09.2018 08:00
- Registration is open from Tu 25.09.2018 21:00 to Fr 28.09.2018 08:00
- Deregistration possible until We 31.10.2018 23:59
Details
max. 40 participants
Language: English
Lecturers
Classes (iCal) - next class is marked with N
Friday
16.11.
14:15 - 15:45
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Friday
23.11.
14:15 - 17:15
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Saturday
24.11.
10:00 - 14:00
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Friday
30.11.
14:15 - 17:15
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Saturday
01.12.
10:00 - 14:00
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Friday
07.12.
14:15 - 17:15
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Friday
14.12.
10:45 - 13:00
Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Information
Aims, contents and method of the course
Though lectures, assigned readings, class discussion and written and oral assignments, this course will examine and critically assess musicological approaches to popular music. The focus of the course will be on popular songs as sonic objects, and will pose the questions why and how do we analyse these objects. The course begins with a philosophical investigation of popular music: What is it? What does it do? Why should we care? The remained of the course will be focused on the various musical parameters of pop songs (melody, harmony, rhythm, form) and on the relationship between words and music. Students will be introduced to rudimentary concepts from forensic musicology--the application of musicology to legal issues surrounding music.
Assessment and permitted materials
Students will be assessed on the basis of class participation, two short written assignments, a group presentation, and a final paper. There will be no exams in this course.
Minimum requirements and assessment criteria
Examination topics
Reading list
1. Theodor Adorno, Essays on Music ed. Richard Leppert, trans. Susan Gillespie (Berkeley: University of California Press, 2002).
2. Begault, Durand, Heather Heise and Christopher Peltier. - Distinguishing Between Science and Pseudoscience in Forensic Acoustics I. - Proceedings of Meetings on Acoustics (2013), vol. 19, pp. 1-9.
3. Allan Moore, ed.Analyzing Popular Music (Cambridge: Cambridge University Press, 2003).
4. Allan Moore, Rock: The Primary Text(New York: Routledge, 2016).
5. Derek B. Scott, ed. The Ashgate Research Companion to Popular Musicology (Farnham: Ashgate, 2009).
6. David Machin, Analysing Popular Music: Image, Sound, and Text(London: Sage, 2010).
2. Begault, Durand, Heather Heise and Christopher Peltier. - Distinguishing Between Science and Pseudoscience in Forensic Acoustics I. - Proceedings of Meetings on Acoustics (2013), vol. 19, pp. 1-9.
3. Allan Moore, ed.Analyzing Popular Music (Cambridge: Cambridge University Press, 2003).
4. Allan Moore, Rock: The Primary Text(New York: Routledge, 2016).
5. Derek B. Scott, ed. The Ashgate Research Companion to Popular Musicology (Farnham: Ashgate, 2009).
6. David Machin, Analysing Popular Music: Image, Sound, and Text(London: Sage, 2010).
Association in the course directory
BA (2016): POP-V, INT, FRE
BA (2011): B14, B16, B17, B18, B19
MA: M01, M02, M03, M04, M05, M11, M13, M14, M15, M16
BA (2011): B14, B16, B17, B18, B19
MA: M01, M02, M03, M04, M05, M11, M13, M14, M15, M16
Last modified: Mo 07.09.2020 15:35