Universität Wien

160191 PS Intertextuality in Songwriting (2009W)

5.00 ECTS (2.00 SWS), SPL 16 - Musik-, Sprach- und Vergleichende Literaturwisse
Continuous assessment of course work

Details

max. 30 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

  • Wednesday 07.10. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 14.10. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 21.10. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 28.10. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 04.11. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 11.11. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 18.11. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 25.11. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 02.12. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 09.12. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 16.12. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 13.01. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 20.01. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG
  • Wednesday 27.01. 14:00 - 15:30 Seminarraum A Berggasse 11 2.OG

Information

Aims, contents and method of the course

Here are some examples for songwriters who frequently use intertextual references in their songs: Bob Dylan, Neil Young, Patti Smith, Grace Slick, Robert Plant, Roger McGuinn & J. Levi, Robert Hunter, Nick Cave, Jim Morrison, Frank Zappa, Leonard Cohen, . . .

Another point of interest would be to examine those forms of music that – especially through the invention of sound recording – have evolved from a primarily oral tradition to an art form with known composers and lyricists. The genre of Americana (folk, country, blues, etc. ) would be especially suited for observations of this kind. As there is a multitude of songs that exhibit textual or musical congruities but are credited to different songwriters, the question how we approach these similarities remains to be answered. Do we see them as remnants of an oral tradition, as fixed motifs and modes of expression or as intertextual references in the modern sense? The Child Ballads and their numerous adaptations would be a good example for how motifs get changed or integrated into other, new songs over time.

The concept of intertextuality shall be applied not only to the textual part (the lyrics) of the songs but also to the music itself. It will be especially interesting to examine songs in which both textual and musical references to other works are employed.

Assessment and permitted materials

active participation, oral presentation, paper (approx. 15 pages)

Minimum requirements and assessment criteria

The goal of this course is to examine the different ways in which songwriters use the concept of intertextuality in their work. In the course of the seminar, the students should acquire a knowledge of songwriting as a distinct form of literature.

Examination topics

The students will be required to work on a subject of their choice (e.g. the different intertextual references that can be found on an album or in the work of a certain songwriter) and present their findings in an oral presentation and a paper (approx. 15 pages).

Reading list

Literaturtipps und Diskographie werden in der ersten Einheit zur Verfügung gestellt

Association in the course directory

Diplomstudium VL 130, VL 131;
BA M4

Last modified: Mo 07.09.2020 15:36