Music to Hear on Here: Final Assignment: Adele

Tuesday, May 10, 2011

Final Assignment: Adele

After struggling with the music I wanted to write about, I decided to choose a contemporary artist with a powerful voice. Adele's albums I believe are an exception to the popular songs Adorno detested. By reasoning through Barthe's conception of the "grain" of the voice, popular music can be more than a tool for escape. Thus, her voice, not traditional pop-song gimmicks won me over.

Further comment:She will be performing in Berkeley in June.

No comments:

Post a Comment

Course Description

"Writing about music is like dancing about architecture." Martin Mull (or Elvis Costello)

Thinking about the meaning and value, intellectual, affective and neurological experiences, and aesthetics of music has occupied an important position in modern and contemporary philosophical writings. Central to the philosophy of music is a questioning of what music is insofar as it is an art form and practice, akin to but different from other arts, such as drama, literature, painting, sculpture, to name but a few examples. Claims have been made, in fact, that music’s effect, when performed and listened to, surpasses those of the other arts because of its abstact purity, of its universality, and of its singular capacity to express, represent and incite emotions. This course will explore such issues in 19th-20th century philosophy. We will begin with introductory readings of what composes the field and discipline of the philosophy of music. We will read—among other philosophers, novelists, critics and musicologists—Schopenhauer, Nietzsche, Barthes and Adorno’s writings on music. Finally, we will have the occasion to read about and listen to specific musicians, both high and low, and explore the contexts of their work, concentrating on the historical and political dimensions of the practice, performance and art of making music.