Music Movements in a Capitalist Democracy|
Fall 2019 not offered
This course will focus on music movements that have used the presentation, expression, and production of music and music events to facilitate sociopolitico transitions. The vital context of these movements is the United States in particular, where the speed and power of commerce, as well as the concentration of capital, present unique opportunities for progressive values and goals in music.
We will look at huge events such as the Newport festivals, Woodstock, Michigan Womyn's Music Festival, Lillith Fair, and Bonaroo, and examine how these movements have both evolved and spread their tendrils into the world (if they have). We will also spend some time on smaller, grassroots venues and music series in Chicago, Boston, San Francisco, and New York and see how blues, folk, punk, and "Americana" venues have affected and interacted with their communities. We will look at how music scenes evolved and grew and sometimes became institutions, like the Chicago Old Town School of Music.
||Gen Ed Area Dept:
|Course Format: Seminar||Grading Mode: Graded|
||Fulfills a Major Requirement for: None
SNCC, HANDS ON THE FREEDOM PLOW
Pete Seeger, WHERE HAVE ALL THE FLOWERS GONE, A MUSICAL AUTOBIOGRAPHY
Vincent Harding, Bernice Johnson Reagon, and Rachel E. Harding, "SINGING TO FREEDOM", Sojourners (magazine)
Michael Lang with Holly George-Warren, THE ROAD TO WOODSTOCK
Holly Near, FIRE IN THE RAIN, SINGER IN THE STORM
Laurie J. Kendell, MICHIGAN WOMYN'S MUSIC FESTIVAL: AN AMAZON MATRIX OF MEANING
Lisa Jervis and Andi Zeisler, eds., BITCHFEST (EXCERPTS) TEN YEARS OF CULTURAL CRITICISM FROM THE PAGES OF BITCH MAGAZINE
Rob Rosenthal, PLAYING FOR CHANGE
Suzanne Staggenborg and Amy Lang, "CULTURE AND RITUAL IN THE MONTREAL WOMEN'S MOVEMENT" (paper)
|Examinations and Assignments: |
Two big assignments, one as mid-term, one as final.
Three choices, can't do the same choice twice.
1. 10-page paper following the evolution of a festival or performer through the lens of the course.
2. Plan a festival or performance through the lens of the course.
3. Write a song and create a context of performance and social movement through which it would achieve its social goals (even if purely artistic, unconnected to a movement).
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