Unit convenor and teaching staff |
Unit convenor and teaching staff
Unit Convenor
Guy Morrow
Contact via guy.morrow@mq.edu.au
Y3A 193E
Tues 10am to 12pm
Adrian Renzo
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Credit points |
Credit points
3
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Prerequisites |
Prerequisites
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Corequisites |
Corequisites
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Co-badged status |
Co-badged status
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Unit description |
Unit description
Popular music is, more often than not, the creative expression of dissent. The aim of this unit is to both identify and qualify the dissenting voices and to uncover the complex social and political situations from which they emanate. In this respect, this unit provides students with a critical evaluation of how specific eras and movements within popular music history have enacted political change. Popular music trends have long played a vital role in prompting audiences to reconsider their position in relation to gender, race, class, sexuality and, concomitantly, the historical, political and philosophical contexts that have produced these often divisive social distinctions. This unit examines the broader political frameworks that popular music movements have either defined, encountered or conquered, areas that include all manner of political activism, the emergence of subcultures and countercultures, issues of censorship, sex, morality and much more. Of particular significance to this unit is how popular music has been socially and politically empowering when there was little or no alternative; offering some of society's most disenfranchised populations the means to a voice.
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Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates
On successful completion of this unit, you will be able to:
Name | Weighting | Due |
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Lead the Class Group Exercise | 15% | Ongoing from Week 2 |
Literature Review | 15% | August 28 by 12 midnight |
Set Essay | 30% | 8 October by 12 midnight |
Research Essay | 40% | 18 November by 12 midnight |
Due: Ongoing from Week 2
Weighting: 15%
For this assessment task, students will be put into groups in the first two tutorials. Groups will also choose a weekly topic in the first two tutorials. Each student group will lead the discussion for their chosen week. This task requires students to summarise the literature and collaborate with other students in order to evaluate, contrast and defend their own judgements concerning popular music. This task does not require a formal presentation, just student-led discussion. You will be required to collaboratively work with your tutor to present and critique the ideas contained in the readings.
Marking Criteria:
In order to pass this assessment task, students will need to:
- Demonstrate that they understand the readings for their chosen week
- Actively engage with the class in order to generate discussion
- Demonstrate knowledge of the relevant topic(s)
- Integrate the information presented with the broader themes of the week
- Demonstrate independent research of the topic
Due: August 28 by 12 midnight
Weighting: 15%
Literature Review
This assignment is an early assessment task and is designed to give you feedback within the first third of the study period.
In 800 words, summarize the arguments contained in the readings that have been set for the first 4 weeks of this unit. Literature review assignments will be examined in relation to the following criteria:
- Demonstrated familiarity with and communication of the relevant literature covered on the unit so far
- Demonstrated ability to clearly articulate the arguments put forth in the readings so far using academic language
- Demonstrated ability to engage with, interpret and apply academic sources
- Clear identification of assignment aims (and whether these are achieved)
- Cited works should be referenced using an established system
- Clarity of expression in line with expected academic standards
An example of a literature review is available via the unit iLearn site. Check out how the author has reviewed the literature and in doing so, has produced a ‘dense’ piece of writing that surveys a lot of literature while also picking up on key themes. Note how the different texts are put ‘in conversation’ with each other. This is what you should aim to do for your literature review assignment for this unit. This will help you to work towards the learning outcome of being able to discuss a broad understanding of relevant popular music history and to recognise the role popular music has played, and continues to play, in the contemporary political landscape.
This type of exercise is called a ‘literature review’ because in order to create new knowledge (the aim of academia), we first need to find the gaps in the literature and to survey what has come before. This assessment task will therefore help you to meet the learning outcome of reproducing academic ideas verbally and in writing. In this way what you are doing as undergraduate students in this unit mirrors the approach that a Higher Degree Research (HDR) student would take. By doing a literature review, you will have learnt a valuable new skill and you will have started to engage with the ideas, to see links between the different topics, and by thinking in a critical and analytical way early on, you will now be able to let the ideas incubate in your mind across the semester. This will lead to better moments of insight when you produce the following assessment tasks.
Due: 8 October by 12 midnight
Weighting: 30%
Set essay length is 1000 words. Drawing on the theories and perspectives covered in the unit analyse any one artist (and/or album) that attempts to express counter-cultural perspectives in the music, lyrics and/or overall performative persona.
Assignments must be submitted via the Turnitin dropbox on the homepage of the unit iLearn site.
- Demonstrated understanding of the essay question
- Demonstrated ability to clearly and articulately structure an argument using academic language
- Demonstrated ability to research, interpret and apply academic sources
- Clear identification of assignment aims (and whether these are achieved)
- Relevance of sources
- Credibility of sources
- Use of sources
- Evidence of independent research
- Demonstrated ability to conduct independent wider research
- Cited works should be referenced using an established system
- Clarity of expression in line with expected academic standards
- Use of relevant examples
Due: 18 November by 12 midnight
Weighting: 40%
Research Essay length is 2000 words. For your final essay, you will be required to select one question from a list that will be distributed during the second half of the semester. This list will feature questions that draw from ideas that emerge across the semester so that you can explore these further. You will play a part in developing the essay question options and ideas through group brainstorming sessions that will take place in the tutorials and lectures in the latter weeks of the semester. This way we can crowd source ideas from the student body and then collaboratively generate the essay questions and topics that you would like to research.
Marking Criteria
In MUS 102 three sets of criteria are assessed in essays: reading and research; argument and analysis; and writing and structure. Within each of these sets, markers are looking for the following:
Reading and research: evidence of critical engagement with set course materials; evidence of independent reading of appropriate academic material; evidence of thorough research (books, journals, Internet, media resources and archives).
Argument and analysis: well-articulated and well-supported argument; evidence of critical thinking (through taking a position in relation to key ideas from the course, and supporting this position); evidence of relational thinking (through making connections between key ideas from the course and wider literature, and supporting these connections).
Writing and structure: clear, logical and coherent structure; clarity of expression; adequate referencing.
The notes below indicate the relationships between these criteria and grades. These should be taken as indicative rather than prescriptive. Grades are defined in the Macquarie Handbook of Undergraduate Studies.
Pass essays
Macquarie University defines the Pass standard as denoting performance which "satisfies unit objectives" the majority of essays submitted are likely to be of Pass standard. Pass essays will be solid, satisfactory pieces of work which clearly meet good standards in all three of the assessment categories.
However, generally speaking, Pass essays will probably have substantial room for improvement in at least two of the three assessment categories. The following are some examples of common problems in Pass essays: Pass essays often rely overly on description and summary at the expense of argument. They sometimes demonstrate an understanding of the need to be analytical and to construct an argument, but do not quite achieve an effective one. Often they are under-researched. Pass essays are also often in need of further editing and revision and may feature occasional unclear language or less-than coherent structure (essays which are unclear or incoherent throughout may fail).
Credit essays
Macquarie University defines the Credit grade as denoting "performance which is substantially better than would normally be expected of competent students in the unit." Credit essays, therefore, are very much above average. Speaking generally, Credit essays will often have at least some of the following characteristics: they will probably have a clear and well-supported argument and are likely to offer strong evidence of serious and thoughtful reading and research; they will often also demonstrate a broader understanding of the key themes and concepts of the unit. In addition, Credit essays will be written with a high degree of clarity and precision, and will obviously be the product of a serious process of thoughtful drafting, revision and editing. However, Credit essays will probably still display significant room for improvement in at least one of the three assessment categories.
Distinction and High Distinction essays
The university defines the Distinction grade as denoting performance which "clearly deserves a very high level of recognition as an excellent achievement in the unit." Distinction essays are exceptional pieces of work which demonstrate initiative in research and are informed by serious reading on the essay topic and in the subject area more broadly. They display both breadth and depth of understanding. Speaking generally, Distinction essays will often have at least some of the following characteristics in addition to meeting all the requirements of the Credit standard: Distinction essays usually demonstrate complex understanding and the best of them may display some originality in their analysis. Distinction essays often engage critically with underlying assumptions in texts and assess these with reference to well chosen other texts and appropriate evidence and examples.
In sum, Distinction essays are excellent pieces of writing, with carefully-mounted and effective arguments, well-supported with reference to rigorous and comprehensive research; in addition, they will be persuasively written and probably display some initiative and flair. The grade of High Distinction is awarded to essays which satisfy all of the criteria of the Distinction essay in an obviously exceptional manner: this grade is defined by the university as denoting work "which meets all unit objectives in such an exceptional way and with such marked excellence that it deserves the highest level of recognition."
Fail Essays
Fail essays do not satisfy minimum standards in any of the three assessment categories. Fail grades may be given in a range of cases, including (but not limited to) cases where: the assignment submitted more closely resembles a set of preliminary notes than a finished essay; the essay contains no evidence of reading or evidence only of reading material inappropriate for university study (this often means haphazardly selected writings found online); the essay does not construct an argument but relies instead entirely on description and synopsis; the essay calls upon the reader to guess at the meaning intended, through lack of care and attention in spelling, grammar, sentence and paragraph construction.
Please note that clarity of expression is not an optional extra in university work and that all assignments must be clearly and precisely written, using language appropriate to a university assessment task.
ASSIGNMENT SUBMISSION
Electronic Submissions
Assignments for this unit are to be submitted online via the Turn It In drop boxes that are available on the homepage of the MUS102 iLearn site.
To submit an assignment:
1. Go to the MUS102 iLearn site.
2. Click on the relevant Turn It In assignment name.
3. Click on the Submit Paper tab.
4. Select Student Name.
5. Enter a Submission Title.
6. Select Submission Part if there are multiple parts available.
7. Click Browse and select the file you would like to submit.
8. Click Add Submission.
READINGS:
The readings for this unit are electronically available via e-reserve and/or the unit iLearn site. A complete reading list is
available below.
Week 1:
Topic: Evaluating Popular Music
Reading 1:
Thornton, S (2006) Understanding Hipness: ‘Subcultural Capital’ as feminist tool, in A. Bennett, B. Shank and Toynbee, J (eds.) The Popular Music Studies Reader, New York: Routledge. 99-105.
Reading 2:
Frith, S (1996) Performing Rites: On the Value of Popular Music. Oxford: Oxford University Press: 3-20.
Additional Reading:
Ingram, B (2010) “Music”. In Cultural Studies: A Practical Introduction, ed. Michael Ryan. Chichester: John Wiley and Sons: 105-121.
Week 2:
Topic: Outsiders and Rebels
Reading 1:
Hale, G.A (2011) A Nation of Outsiders: How the White Middle-Class Fell in Love with Rebellion in Postwar America, New York: Oxford University Press: 84-131.
Reading 2:
Mayhew, E (2006) ‘The Booing of Sinéad O'Connor: Bob Dylan 30th Anniversary Concert, Madison Square Garden, New York, 16 October 1992’ In Performance and Popular Music: History Place and Time, ed. Ian Inglis. Aldershot: Ashgate: 172-187.
Additional Reading:
McGuigan, J (2009) ‘Consumer Culture’ In Cool Capitalism, New York: Pluto Press: 83-128.
Week 3:
Topic: Theoretical Controversies
Reading 1:
Wiseman-Trowse, N (2008) Performing Class in British Popular Music, Basingstoke: Palgrave Macmillan: 33-61.
Reading 2:
Gilbert, J and Pearson, E (2002) Discographies: Dance, Music, Culture and the Politics of Sound, London: Routledge: 146-157.
Additional Reading:
Weinstein, D (1999) ‘Arts versus commerce: Deconstructing a (useful) romantic illusion’. In Stars Don't Stand Still in The Sky, eds. K.Kelly and E.McDonnell, London: Routledge: 57-69.
Week 4:
Topic: Framing the Feminine
Reading 1:
Warwick, J (2007) Girl Groups, Girl Culture: Popular Music and Identity in the 1960s, London: Routledge: pp. 203-218.
Reading 2:
Bayton, M (1993) ‘Feminist Musical Practice: Problems and Contradictions’, In Rock and Popular Music: Politics, Policies, Institutions, eds. T. Bennett, S. Frith, L. Grossberg, J. Shepherd, & G. Turner, London: Routledge: 177-192.
Additional Reading:
Whiteley, S (2006) ‘Patti Smith: The Old Grey Whistle Test, BBC-2 TV, May 11, 1976’ In Performance and Popular Music: History Place and Time, ed. Ian Inglis. Aldershot: Ashgate: 81-91.
Victoria Malawey (2014). ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding's ‘Respect’, Popular Music, 33: 185-207.
Week 5:
Topic: Punk
Reading 1:
Szatmary, D.P (2006) ‘Rockin’ in Time’ in A Social History of Rock and Roll, Pearson: 234-258.
Reading 2:
Rapport, E (2014) ‘Hearing punk as blues’, Popular Music, 33: 39-67.
Additional Reading:
Dunn, K (2012), “If It Ain't Cheap, It Ain't Punk”: Walter Benjamin's Progressive Cultural Production and DIY Punk Record Labels, Journal of Popular Music Studies, 24: 217–237.
Oliver Double (2007) ‘Punk Rock as Popular Theatre’, New Theatre Quarterly, 23: 35-48.
Week 6:
Topic: Heavy Metal
Reading 1:
Moore, R (2010) Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis, New York: NYUPress: 75-113.
Reading 2:
Kahn-Harris, K (2007) Extreme Metal: Music and Culture on the Edge, Oxford and New York: Berg. 27-50.
Additional Reading:
Reyes, I (2013) Blacker than Death: Recollecting the “Black Turn” in Metal Aesthetics. Journal of Popular Music Studies, 25: 240–257.
Week 7:
Topic: Rock and Masculinity
Reading 1:
Leonard, M (2007) Gender in the Music Industry, Aldershot: Ashgate: 23-41.
Reading 2:
Auslander, P (2006) ‘Watch that man. David Bowie: Hammersmith Odeon, London, July 3, 1973’ In Performance and Popular Music: History Place and Time, ed. Ian Inglis, Aldershot: Ashgate: 70-80.
Additional Reading:
de Boise, S (2014) Cheer up emo kid: rethinking the ‘crisis of masculinity’ in emo. Popular Music, 33: 225-242.
Waksman, S (1996) Every inch of my love: Led Zepplin and the problem of cock rock, Journal of Popular Music Studies, 8: 5-25.
Week 8:
Topic: Soul, Disco and Dance
Reading 1:
Echols, A (2010) Hot Stuff: Disco and the Remaking of American Culture, New York and London, W.W Norton and Company: 1-38.
Additional Reading:
Cunningham, P. L. (2010), “There's Nothing Really New under the Sun”: The Fallacy of the Neo-Soul Genre. Journal of Popular Music Studies, 22: 240–258.
Lawrence, T. (2008), Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology. Journal of Popular Music Studies, 20: 276–329.
Lawrence, T. (2006), “I Want to See All My Friends At Once”: Arthur Russell and the Queering of Gay Disco. Journal of Popular Music Studies, 18: 144–166.
Week 9:
Topic: The Caribbean Influence
Reading 1:
Henriques, J (2011) Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing, London: Continuum: 3-38.
Reading 2:
Stratton, J. (2010), Chris Blackwell and “My Boy Lollipop”: Ska, Race, and British Popular Music. Journal of Popular Music Studies, 22: 436–465.
Week 10:
Topic: Hip-Hop
Reading 1:
Forman, M (2013) ‘Kill the static: temporality and change in the hip-hop mainstream (and its Other)’ In Redefining Mainstream Popular Music, eds. S. Baker, A. Bennett, J. Taylor, London, Routledge: 62-73.
Reading 2:
Rose, T (2006) ‘Voices from the Margins: Rap Music and Contemporary Black Cultural Production’ In The Popular Music Studies Reader, eds. Andy Bennett, Barry Shank, Jason Toynbee, Abingdon, Oxon, Routledge: 216-223.
Additional Reading:
Djupvik, M (2014) Welcome to the candy shop! Conflicting representations of black masculinity. Popular Music, 33, 209-224.
Week 11:
Topic: Youth Culture and Minor Language
Reading 1:
Potter, R. A (1995) Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism, Albany, NY: State University of New York Press: 55-79.
Reading 2:
Fernandes, S (2011) Close to the Edge: In Search of the Global Hip Hop Generation, London: Verso: 109-145.
Week 12:
Topic: Generation X Blues
Reading 1:
Szatmary, D. P (2006) Rockin’ in Time: A Social History of Rock and Roll, Pearson: 292-314.
Reading 2:
Wood, J. L (2011) Pained expression: metaphors of sickness and signs of ‘authenticity’ in Kurt Cobain's Journals, Popular Music, 30: 331-349.
Week 13:
Topic: Sounds of the Suburbs
Reading 1:
Huq, R. (2013) Making Sense of Suburbia through Popular Culture, London: Bloomsbury: 55-82.
Unit Schedule: Overview |
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Week 1 |
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Evaluating Popular Music |
Week 2 |
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Outsiders and Rebels |
Week 3 |
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Theoretical Controversies |
Week 4 |
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Framing the Feminine |
Week 5 |
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Punk |
Week 6 |
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Heavy Metal |
Week 7 |
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Rock and Masculinity |
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MID SEMESTER BREAK |
Week 8 |
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Soul, Disco and Dance |
Week 9 |
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The Caribbean Influence |
Week 10 |
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Hip-Hop |
Week 11 |
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Youth Culture and Minor Language |
Week 12 |
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Generation X Blues |
Week 13 |
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Sounds of the Suburbs |
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Assessment Policy http://mq.edu.au/policy/docs/assessment/policy.html
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Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html
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