This course is all about exploring why we listen to music, what we use music for, and, in some sense, how music uses us. Why do we have the musical preferences that we do? Is there really such a thing as “good” music? How does music create communities? How does music create social change? How does music function in our daily lives? These are all questions we will examine in depth throughout this course.
You will become more sensitive to considering the ways that we, as individuals and communities, interact with the music we’re listening to—often without even noticing that we are. You will also become more attuned to the sometimes-covert ways in which music operates in our society, and to the ramifications that music can have in our individual and communal psyches.
Music, Self, and Society weaves together readings from music critics, sociologists, psychologists, scholars of ritual and drama, philosophers, and a number of other writers. In general, we take a big topic—such as musical taste—and evaluate it from a number of different angles, with the expectation that each angle brings a distinct, useful perspective to it.
We’ll consider music across almost every conceivable genre, from advertising jingles to jazz to pop to classical to world music. The music chosen helps bring to the fore the issues we raise, sometimes as answers to questions and sometimes as questions themselves. When we examine music and social change, for example, we’ll consider classics like “We Shall Overcome” and “Strange Fruit” while also studying more recent revolutionary acts like Pussy Riot. We will also use a number of TV and film clips to elucidate specific issues.
By the end of this course, you will be able to:
- Describe and analyze a variety of contexts in which music, individuals, and societies intersect, including ritual, commerce, and politics
- Describe and analyze the ways in which individuals and societies understand and use different kinds of music, including classical music, popular music, and jazz
- Reflect on and evaluate your personal musical preferences and relate them to larger communal contexts
- Explain, compare, and apply different schemes of apprehending musical meaning
- Analyze and critique important musical ideas such as taste, audience, and censorship
Lesson 1: Who Are You? What Are We?
- What is the Use of Music?
- What is a Self?
- What is a Society?
- In the Thick of It
- Assignment 1: Thick Description
Lesson 2: What is Music?
- Does Music Exist?
- The Emergence of "The Work"
- Works and Canons
- Discussion: Who Are the “Patrons” of Today’s Music?
- Assignment 2: “The Work”
Lesson 3: How Does Music Have Meaning?
- How Does Music “Mean”?
- What is Music About?
- Bringing Things into Focus
- Discussion: Frith’s “Performing Rites”
- Assignment 3: Segmentation, Gaps, and Focalization
Lesson 4: Getting Emotional
- Does Music Have Emotion?
- Why Do We Respond the Way We Do?
- Making the Unfamiliar Familiar
- Discussion: Chance Factors
- Assignment 4: Share Playlist
Lesson 5: Getting Together
- The Problem with Feelings
- You Are What You Listen To...Or Are You?
- Geek Culture
- Assignment 5: Music Interpretation
Lesson 6: The Meaning of Musical Taste
- Taste and Audience
- Hume Sweet Hume
- Advanced Genius Theory
- Aesthetic Taste As an Act of Faith
- Assignment 6: “Good” and “Bad” Taste in Music
Lesson 7: Music and Ritual
- Ritual and Music Defined
- Genres of Ritual
- Rites of Passage
- Characteristics of Ritual
- Assignment 7: Analyze a Ritual
Lesson 8: Music, Ritual, and Society
- Magic, Religion, and Performative Utterances
- Durkheim’s Elementary Forms
- Social Drama
- Discussion: Music and Weddings
- Assignment 8: Create a Ritual
Lesson 9: Music and Commerce
- Music and the Retail Sector
- Music and Consumer Choice
- Art Meets Commerce: Komar and Melamid
- Discussion: Music and Commercial Space
- Assignment 9: Identify Examples of Music Intersecting with Commerce
Lesson 10: Music, Politics, and Social Change
- How Can Music Change Society?
- We Shall Overcome
- Strange Fruit
- Pussy Riot
- Assignment 10: How Has the Legacy of Protest Songs Evolved?
Lesson 11: Music and Censorship
- Defining Our Terms
- The PMRC, Part 1: Backstory
- The PMRC, Part 2: The Testimony
- Ripped From the Headlines
- Assignment 11: Censorship Analysis
Lesson 12: Into the Great Wide Open
- Voyager 1 and 2
- The Golden Record
- Recap and Mission
- Assignment 12: Analyze the Musical Playlist on Voyager's Golden Record
Let's Talk About Love: Why Other People Have Such Bad Taste by Carl Wilson, Bloomsbury Academic
Strange Fruit: The Biography of a Song by David Margolick and Hilton Als, Harper Perennial
Ritual: A Very Short Introduction by Barry Stephenson, Oxford University Press
Your course author has created an e-coursepack ($29) that you will be able to purchase, once you sign up for the course.
- 2 GB RAM (4 GB recommended)
- 500 MB hard drive space
- Speakers or headphones
- Internet connection with at least 4 Mbps download speed ( http://www.speedtest.net to verify or download the Speedtest by Ookla app from your mobile app store)
Robert Lagueux is the founding Dean for Faculty Development at Berklee College of Music, overseeing the creation of programs providing innovative learning and development opportunities for faculty at Berklee’s Boston, Massachusetts and Valencia, Spain campuses as well as for instructors at Berklee’s international partner schools. In addition to Berklee, he has worked with faculty to enhance teaching and learning at the University of Chicago, Columbia College Chicago, and Northeastern University. As a Fulbright Scholar at City University of Hong Kong, he spent a year developing programs to support general education and leading teaching workshops throughout Southeast Asia.
Lagueux is a music historian who has published and presented on topics as diverse as the medieval celebration of Christmas, Leonard Bernstein, and the use of sound and music in sports. He holds a bachelor’s degree from Harvard University and an M.Phil. and Ph.D. from Yale University. Read Less
Pianist and musicologist, Eunmi Shim, Ph.D., is the award-winning author of Lennie Tristano: His Life in Music, which reevaluates Tristano’s position in jazz history by examining his innovations. This book received the Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound and the Bronze Prize for the Independent Publisher Book Award in Performing Arts. She is also a contributor to The Grove Dictionary of American Music and is currently Professor at Berklee College of Music in the Harmony Department.
Nathan Link is Associate Professor and Chair of Music at Centre College. He received his doctorate from Yale University with a dissertation on Handel's operas, and his areas of interest include African music, popular music, and German Romanticism. His student ensemble at Centre has toured nationally and internationally, performing a mix of traditional American folk and modern acoustic music. In 2015, he received the Governor's Award in Arts Education, naming him the top arts-educator in Kentucky.
Andrew H. Weaver is Professor of Musicology at The Catholic University of America in Washington, DC. He has published widely on music of the seventeenth and nineteenth centuries, including the book Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years’ War (Ashgate, 2012) and articles in the Journal of Musicology, Journal of the Royal Musical Association, Journal of Musicological Research, Music & Letters, Journal of Seventeenth-Century Music, Schütz-Jahrbuch, Early Music, Nineteenth-Century Music Review, and Journal of the American Viola Society. He holds a B.Mus. in musicology and viola performance from Rice University and an M.Phil. and Ph.D. in musicology from Yale University.
When taken for credit, Music, Self, and Society can be applied towards these associated programs: