Studio 3: Music is the Weapon: Performance, Culture and the Music Industry
Studio 3: Music is the Weapon
Do three of the following:
- Think about the kind of topic you might like to research and, after a bit of initial reading, come up with some research questions that you would like to investigate. For example, read Nicholas Cook, Analysing Musical Multimedia (Oxford: Oxford University Press,1998) and/or David Neumeyer, 'Studying Music and Screen Media' in The Routledge Companion to Music and Visual Culture, edited by Tim Shephard and Anne Leonard (New York and London: Routledge, 2014), pp. 67-74 and consider what kind of investigation you could undertake in that field and building on the methods they use.
- Plan a short walk through varied sound environments, making brief notes of what you hear at several points. On the return journey, make short (eg one-minute) recordings (it would be nice to have fancy equipment but it’s likely that your phone will do) at the same points (and others if you hear something interesting). How do your initial observations and your recordings compare?
- Take a well-known performer and/or genre of music and look at recordings, posters, films, books, reviews, images and consider how that performer’s musical, social or political identity is constructed.
- Attend a musical performance and consider how the music is played or sung. Characterise the style of the music and consider the musical choices available to and made by the performer(s). Assess how the performers’ identity (consider musical, political, social and other aspects) is constructed through the choices they make.
- Watch this video: Stuart Hall, Representation and The Media, in four parts on YouTube.
- Read Stuart Hall, The Question of Cultural ldentity.
First seven weeks of study
Week 1-7: will include both group sessions, in which we will consider aspects of our research field and appropriate methods of research, and a programme of exercises (in italics below) which will conduct you through planning and developing your own dissertation. Studio 3 will collaborate with Studio 15 in some sessions. This programme is indicative; it will be varied to suit the group.
- Nicholas Cook and Mark Everist (eds.), Rethinking Music (Oxford: Oxford University Press, 1999)
- Georgina Born, Music, Sound and Space: Transformations of Public and Private Experience (Cambridge: Cambridge University Press, 2013)
- Richard Middleton, Voicing the Popular: On the Subjects of Popular Music (London: Routledge, 2006), pp. 40-51
- John Baily, Ethnicity, Identity and Music: The Musical Construction of Place (Oxford: Berg, 1994)
Tutor on the BSc (Hons) Musical Instruments, BSc (Hons) Music Technology (Sound for Media) and BSc (Hons) Music Technology (Music Production) courses
Christina teaches on the Musical Instruments, Sound for Media, and Music Production courses in the Cass, chiefly Critical and Contextual Studies, and supervises BSc dissertations.
Studio 1: Another India will examine, reflect upon and critique the historic use of "exotic" motifs in design.
Studio 3: Music is the Weapon: Performance, Culture and the Music Industry is an exploration of race, gender, class and more in music.
Studio 4: What Not to Wear? will investigate the roles that dress and fashion play in our workplaces.
Studio 5: Imperfect Theories allows you to critically examine any work that can be seen as theory or presents an interesting relationship with theory.
Nico de Oliveira
Studio 6: Curating Contemporary Art examines the impact of curatorial practice on art.
Dr Lesley Stevenson
Studio 7: Fashioning culture will examine critically the links between fashion, clothing and identity.
Studio 8 explores ideas of category, definition, identification and belonging through the examination of a series of objects and behaviours that appear to be in the wrong place instead of the right place.
Studio 9: The Continuing Lives of Objects uses debates about change and preservation explore ideas within architecture.
Studio 10: Critical Theory and Critical Design. Artefacts, Images, Sites, Processes in Graphics and Illustration
Dipti Bhagat with Christopher Emmett
Studio 10 requires deep commitment and completion of critical theory and design for graphic design and illustration.
Studio 12: London Walking looks at walking as a mode of creatively appropriating the city, with particular attention to our own city, London.
Dr John Cross
Studio 14: 'All in the best possible Taste' examines the historical influencers of taste, style and fashion.
Studio 15: Music, Technology and Ideas encourages you to explore how and why we make music, including its origin, relationship to technology and more.
Studio 16: Narrative and Storytelling will see you produce storygraphs, storyboards and various forms of narrative analysis in the seminars.
Studio 17: Knowing Audiences will encourage you to study an audience group using qualitative research methods in your investigations.
Studio 19: Material in Motion will explore why an audience will put time, money and thought into acquiring an object.
Dr Nick Haeffner
Studio 20: Image ethics: Form, meaning and context explores the aesthetics of the image and its role within fantasy, desire and social memory.
Studio 21: The Nonsensical Realm is a cross-disciplinary studio. This year it will engage with the idea of metaphor in art, architecture, design and music.
Studio 22: Meaningful work explores the value of making and the idea of craft as meaningful work.
Studio 23: A Common Thread examines the relationship between textiles and everyday life, including its design, trade, sustainability and more.
Studio 24: Words in Space reflects on the role that words play in our visual world, performative spaces and the urban environment.