Final draft - ENGL 161 - Project 1: Annotated Bibliography PDF

Preview

Summary

ENGL 161 - Project 1: Annotated Bibliography...

Description

Vy Nguyen Professor Corcoran English 161 February 8, 2017

Project 1: Annotated Bibliography Hyden, Steven. “Your Favorite Band is Killing Me: What Pop Music Reveal about The Meaning of Life. We crash into each other just so we can feel something: Taylor Swift vs Kanye West.” Back Bay Books, 2016. In this piece of reading, Hyden uses the rivalries as a jumping-off point to talk about not only the musicians, but also the meaning of the conflicts, skillfully applying the arguments to a discussion of his own experience. Hyden also gets into a lot of questions about identity and the ways that we define ourselves by defining against something, or someone. According to Hyden, music is not like sports--artists don’t have to “defeat” each other to gain “supremacy and famous”. However artist do turn against each other “in order to determine who’s best”. Every rivalry in this piece of reading has the same dynamic, where you have a mainstream artist that is hugely popular, which he referred as X artist. Then you have a less mainstream artist that is somehow reacting to the popularity of the other artist, which he referred as Y artist. That goes directly back to Taylor Swift vs. Kanye West. The claim is the latest in a contentious history between the two stars, which began at the 2009 MTV Video Music Awards when West interrupted Swift's acceptance speech for Best Female Video, saying Beyoncé's "Single

Ladies (Put a Ring On It)" should have beaten Swift's "You Belong With Me." This article would be useful in a concept of how artist use their own identity to turn against each other, which will be a good example of how music can define someone’s identity and culture.

Co h e n , Sa r a . “ Et h n o g r a p h ya n dPo p ul a rMu s i cSt u d i e s . ”Po p u l a rMus i c , v o l . 1 2 , n o .5 , 1 99 3 , p p . 1 2 3 1 3 6 . Cohen’s article provides her definition of ethnography, and the ethnographic studies on popular music. The potential of approach for the study of popular music will be explored using ethnographic studies, which is why this article defines the term in a narrower anthropological sense. She also describes one of the methods in this study is to investigate a culture through an in-depth study of the members of the culture. Mo r ei mp o r t a nt l y , Co he na r g ue st h a tg e n e r a l s t a t e me nt st e ndt od i s g u i s et h ec o mp l e xo fc o nt e x t s , e v e n t s , a c t i vi t i e sa n d r e l a t i o n s h i psi n v o l v e dwi t hp o p u l a rmu s i c . It is designed to explore cultural phenomena where the researcher observes society from the point of view of the subject of the study. Additionally, she mentions that an ethnographic research approach to the study of popular music, involving direct observation of people, their social networks, and participation in their daily life activities including rehearsals and performances. This article would be useful in a concept of how music can be written by study and investigate a culture that everyone can relate when listen to it. Additionally, this article would be use as an example of how artists write their song by explaining the method of the ethnographic studies in a

research paper.

Foreman, Kelly. “The Gei of Geisha: Music, Identity, and Meaning.” vol. 55, no. 1, 2010, pp.135-140. The article opens by deconstructing the idea of 'geisha' as it functions in Western societies in order to understand why gei has been, and continues to be, neglected in geisha studies. The Japanese geisha is an international icon, the art that constitutes their title (gei translates as fine art, sha refers to person). This article is essential for anyone considering the scholarly study of geisha from an ethnomusicological or an anthropological perspective. The article focuses on the place of geisha musicians in contemporary Japan, rather than on the musical sounds that geisha perform. Kelly M. Foreman helps demystify some of the cultural symbolisms that have for too long connected these artists to lesser spheres of society; she provides a wealth of information on geisha musical practices and contexts of music production; and, above all, she challenges the reader to think more critically about cultural icons more generally in terms of the connections between music, identity, and meaning. The article elaborates how musical art is an essential part of the identity of the Japanese geisha rather than a secondary feature, and locates current practice within a tradition of two and half centuries. It also help the reader to understand the detail of myriad musical genres and traditions with which geisha have been involved during their artistic history, as well as their position within the traditional arts society. Considering the current situation more closely, the article explore actual dedication to art today by geisha,

and analyses how they create impromptu performances at evening banquets. An important issue here is geisha-patron artistic collaboration, which leads to consideration of what Foreman argues to be the unique and essential nexus of identity, eroticism and aesthetics within the geisha world. This article would be useful to introduce the concept of how music and identity related with each other in a research paper. This article could be a detail evidence of how we can defines someone’s identity by listen to his or her music. This is because they use music to represent who they are, and where they come from. It will never be the same if a Western person play and perform geisha’s music since they could not represent the identity and culture of a geisha. Pagaceanu, Luminita. “Relationship of Gender, Music, and Society.” Journal of Research in Gender Studies, vol. 4, no. 2, 2014, pp. 872-877. The article help the readers to gain a deeper understanding of music’s meaning, the experience of listening to music, and perception of emotional expression encoded within musical parameters. An understanding of emotional response to music can only be attained by the development of models that refrain from treating music as a privileged class of object with intrinsic emotional properties. The key contribution of this article is to articulate and give expression to the cognitive psychology of music, the ordinary listener’s scale-degree representation, and the role of music within human cultures. There has been a flurry of pronouncements over recent years about defining characteristics of musical meaning, the internal motions of the musical form, and commonalities at the level of musical structures. The findings presented here show a strong correlation

between the social functions of music, the form of interactive musical behaviors, and music functions as a framework for social and intentional action. Luminita Pagaceanu explained musical semantics involves musical meaning as understood and experienced by the individual, and musical meaning as “a reflection of the cognitive capacities of human beings: cognitive musicology should be concerned with describing how human cognitive capacities are specified for music”, how the structure of music reflects and shapes those capacities, and with giving an account of the role of music within human cultures. This article would be useful in a researcher paper as a concept of the relationship between music and culture. Since every types of music have it own culture, which that make it unique and different from each other....