Sonic Borders Virtual Panel: Theo Cateforis’s “No Control, or: How I Learned to Start Worrying about Sound” from IASPM-US
In high school I was that guy. The one who spent every spare penny at the local record stores. The one who would make you a mixtape or tape a whole album to cassette for you. The one who would host listening parties around the stereo in his parents’ living room. Listening to music was a social activity, but it was also, I now recognize, a form of control. It was important, for instance, that I held those listening parties at my house because I was familiar with my records and stereo system, and I knew exactly how the music would sound. There would be no surprises. Likewise, to make a mixtape meant not only arranging a selection of songs, but ensuring that the recording levels and overall sound flowed from one song to the next. A good mixtape revealed not only an intimate knowledge of one’s record collection, but also the mastery of one’s tape deck. . . . [Reblogged from IASPM-US.net]
Click here to continue reading today’s installment at IASPM-US.
Sonic Borders Schedule
1/21 – Liana Silva, Sounding Out! – “I’m on My New York Sh*t”: Jean Grae’s Sonic Claims on the City
1/28 – Regina Bradley, Sounding Out! – I Like the Way You Rhyme, Boy: Hip Hop Sensibility and Racial Trauma in Django Unchained
2/4 – Marcus Boon, Sounding Out! – One Nation Under a Groove?: Music, Sonic Borders, and the Politics of Vibration
2/6 – Barry Shank, IASPM-US – “On Popular Music Studies”
2/11 – Tavia Nyong’o, Sounding Out! – “Freedom Back: Sounding Black Feminist History, Courtesy the Artists”
2/13 – Theo Cateforis, IASPM-US – “No Control, or: How I Learned to Start Worrying About Sound”
2/18 – Tara Betts, Sounding Out!
2/20 – Shana L. Redmond, IASPM-US
2/25 – Art Jones, Sounding Out!
2/27 – Devon Powers, IASPM-US
Share this:
Sonic Borders Virtual Panel: Barry Shank’s “On Popular Music Studies” from IASPM-US
There are no generic limits to popular music studies. It is defined by its methods, not its objects. Popular music studies approaches the popular through music. In this way, it can be distinguished from sound studies, ethnomusicology and other neighboring fields. But this definition requires that we understand the meanings of those keywords—music and the popular.
Music is what we hear when we are engaged in musical listening. Musical listening is not equivalent to that rarified practice known as “structural listening.” Musical listening is common and everyday. It is what happens when anyone discriminates between music and noise. The ability to make that judgment, to discern the patterning of sound and to assent to the potential pleasure in those patterns, is the fundamental aesthetic judgment. Once that judgment is made, the sound—any sound at all—has become music. . . [Reblogged from IASPM-US.net]
Click here to continue reading today’s installment at IASPM-US.
Sonic Borders Schedule
1/21 – Liana Silva, Sounding Out! – “I’m on My New York Sh*t”: Jean Grae’s Sonic Claims on the City
1/28 – Regina Bradley, Sounding Out! – I Like the Way You Rhyme, Boy: Hip Hop Sensibility and Racial Trauma in Django Unchained
2/4 – Marcus Boon, Sounding Out! – One Nation Under a Groove?: Music, Sonic Borders, and the Politics of Vibration
2/6 – Barry Shank, IASPM-US – “On Popular Music Studies”
2/11 – Tavia Nyong’o, Sounding Out!
2/13 – Theo Cateforis, IASPM-US
2/18 – Tara Betts, Sounding Out!
2/20 – Shana L. Redmond, IASPM-US
2/25 – Art Jones, Sounding Out!
2/27 – Devon Powers, IASPM-US
Share this:
Current Top Posts
April 2021
January 2020
November 2019
October 2019
August 2019
April 2014
November 2017
March 2015
December 2017
October 2015
Sounding Out! 
Recent Comments