Defining My Fields, Qualifying Exams

Preparation for my qualifying exams provided a great opportunity to broaden my knowledge of ethnomusicology and popular music studies, and, in particular, it gave me an excuse to read some incredible monographs that have been collecting dust on my bookshelf since I began this program. Developing these exams also involved developing abstracts that delimit the boundaries of my particular interests and areas of specialization. My particular fields for my qualifying exams go as follows:

  • U.S. Popular Music, 20th C to Present
  • East Asian Popular Music, 20th C to Present
  • Performance Studies, Theory and Practice
  • History & Methods in Ethnomusicology

Although I can’t provide a copy of my abstracts or exams, I’ll offer a bibliography of my preparation materials here. This indicates some of the focal areas and points of emphasis in my research.


U.S. POPULAR MUSIC

THEORIES & METHODS OF STUDY

Clarke, John, Stuart Hall, Tony Jefferson & Brian Roberts. 1976. “Subcultures, Cultures, and Class.” In Resistance through Rituals: Youth Subcultures in Post-War Britain, eds. Stuart Hall and Tony Jefferson. London: Harper Collins Academic.

Cohen, Sara. 1993. “Ethnography and Popular Music Studies.” Popular Music 12(2):123-138.

Erlmann, Veit. 1996. “The Aesthetics of the Global Imagination: Reflections on World Music in the 1990s.” Public Culture 8: 467-87.

Feld, Steven. 1994. “From Schizophonia to Schismogenesis: On the Discourses and Commodification Practices of ‘World Music’ and ‘World Beat’.” In Music Grooves: Essays and Dialogues, Charles Keil and Steven Feld (eds) Chicago: University of Chicago Press. 257-289.

Frith, Simon. 1996. Performing Rites: On the Value of Popular Music. Cambridge: Harvard University Press.

Garofalo, Reebee (ed.) 1992. Rockin’ the Boat: Mass Music and Mass Movements. Boston: South End Press.

Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Routledge.

Lipsitz, George. 1997. Dangerous Crossroads: Popular Music, Postmodernism and the Focus of Place.  New York: Verso.

Middleton, Richard. 1990. Studying Popular Music. Open University Press.

Straw, Will. 2004. “ Cultural Scenes .”  Society and Leisure 27(2): pp. 411-422.

Thornton, Sarah. 1996. Club Cultures: Music, Media and Subcultural Capital. Hanover: Wesleyan University Press.

Waxer, Lise. 2002. Situating Salsa: Global Markets and Local Meanings in Latin Popular Music. London & New York: Routledge.

INDUSTRY, REGULATION, & DISTRIBUTION

Adorno, Theodor W. 1941. “On Popular Music.” Studies in Philosophy and Social Science 9(1): 17- 48.

Cloonan, Martin. 2003. “Call That Censorship? Problems of Definition,” In Policing Pop Eds. Martin Cloonan & ReebeeGarofalo). Philadelphia: Temple University Press.

Filene, Benjamin. 2000. Romancing the Folk: Public Memory and American Roots Music. Durham: University of North Carolina Press.

Miller, Karl Hagstrom. 2010. Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow. Durham, NC: Duke University Press.

Negus, Keith. 1999. Music Genres and Corporate Cultures. London: Routledge.

Novak, David. 2011. “The Sublime Frequencies of New Old Media.” Public Culture 23(3): 603-634.

Sanjek, Russell. 1996. Pennies from Heaven: The American Popular Music Business in the Twentieth Century. Da Capo Press.

Sterne, Jonathan. 2012. MP3: The Meaning of a Format. Durham: Duke University Press.

Suisman, David. 2012. Selling Sounds: The Commercial Revolution in American Music. Cambridge: Harvard University Press.

Taylor, Timothy. 2007. “The Commodification of Music at the Dawn of the Era of ‘Mechanical Music’.” Ethnomusicology 51(2):281-305.

Weisbard, Eric. 2014. Top 40 Democracy: The Rival Mainstreams of American Music. Chicago: University of Chicago Press.

GENRE

Berger, Harris M. 1999. Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience. Hanover: University Press of New England.

Fox, Aaron A. 2004. Real Country: Music and Language in Working-Class Culture. Durham, NC: Duke University Press.

Lawrence, Tim. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Duke University Press.

Peterson, Richard. 1997. Creating Country Music: Fabricating Authenticity. Chicago: University of Chicago Press.

Quinn, Eithne. 2005. Nuthin’ but a ‘G’ Thang: The Culture and Commerce of Gangsta Rap. New York: Columbia University Press.

Rivera, Raquel Z. 2003. New York Ricans from the Hip Hop Zone. New York: Palgrave Macmillan.

Rose, Tricia. 1994. “A Style Nobody Can Deal With: Politics, Style and the Postindustrial City in Hip Hop.” In Microphone Fiends: Youth Music and Youth Culture, eds. Andrew Ross and Tricia Rose. New York: Routledge.

Schloss, Joseph G. 2004. Making Beats: The Art of Sample-Based Hip-Hop. Middletown: Wesleyan University Press.

Waksman, Steve. 1999. Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. Cambridge: Harvard University Press.

Walser, Robert. 1993. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Middletown: Wesleyan University Press.

RECEPTION & REMIX

Aparicio, Frances. 1998. Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Culture. Middletown, CT: Wesleyan University Press.

Cavicchi, Daniel. Tramps Like Us: Music & Meaning Among Springsteen Fans. New York: Oxford University Press, 1998.

Cheng, William. 2012. “Role-Playing toward a Virtual Musical Democracy in The Lord of the Rings Online.” Ethnomusicology 56(1):31-62.

Drew, Rob. 2001. Karaoke Nights: An Ethnographic Rhapsody, 69-90. Walnut Creek: AltaMira Press.

Keightley, Keir. 1996. “‘Turn it Down’ She Shrieked: Gender, Domestic Space, and High Fidelity, 1948-59.” Popular Music 15(2):149-177.

Meintjes, Louis. 1990. “Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning.” Ethnomusicology 34(1): 37-73.

Meizel, Katherine. 2010. Idolized: Music, Media, and Identity in American Idol. Bloomington: Indiana University Press.

McCracken, Allison. 1999. “God’s Gift to Us Girls”: Crooning, Gender, and the. Re-Creation of American Popular Song, 1928-1933. American Music 17(4): 365-395.

Miller, Kiri. 2012. Playing Along: Digital Games, Youtube, and Virtual Performance. New York: Oxford University Press.

Samuels, David W. 2004. Putting a Song on Top of It: Expression and Identity on the San Carlos Apache Reservation. Tucson: University of Arizona Press.

Sinnreich, Aram. 2010. Mashed Up: Music, Technology, and the Rise of Configurable Culture. University of Massachusetts Press.

IDENTITY

Kun, Josh. 2005. Audiotopia: Music, Race, and America. Berkeley: University of California Press.

Manuel, Peter. 1994. “Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa.” Ethnomusicology 38(2).

Sakakeeny, Matt. 2013. Roll With It: Brass Bands in the Streets of New Orleans. Durham, NC: Duke University Press.

Shank, Barry. 1994. Dissonant Identities: The Rock’n’Roll Scene in Austin, Texas. Wesleyan University Press.

Whiteley, Sheila and Jennifer Rycena. 2006. Queering the Popular Pitch. New York: Routledge.

Yang, Mina. 2008. California Polyphony: Ethnic Voices, Musical Crossroads. Urbana: University of Illinois Press.


 

EAST ASIAN POPULAR MUSIC

MAINLAND CHINA

Baranovitch, Nimrod. 2003. China’s New Voices: Popular Music, Ethnicity, Gender, and Politics, 1978-1997. Oakland: University of California Press.

De Kloet, Jeroen. 2003. “Confusing Confucius: Rock in Contemporary China,” In Policing Pop Eds. Martin Cloonan & ReebeeGarofalo). Philadelphia: Temple University Press.

Fung, Anthony. 2008. “Western Style, Chinese Pop: Jay Chou’s Rap and Hip-Hop in China.” Asian Music 39(1): 69-80.

Harris, Rachel. 2002. “Casettes, Bazaars, and Saving the Nation: The Uyghur Music Industry in Xinjiang, China,” In Global Goes Local (Eds. Tim Craig & Richard King). Vancouver: University of British Columbia Press.

Huang, Hao. 2001. “Yaogun Yinyue: Rethinking Mainland Chinese Rock ‘n’ Roll.” Popular Music 21(1): 1-11.

Jones, Andrew. 2001. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham: Duke University Press.

Kraus, Richard. 2004. The Party and the Arty: The New Politics of Culture. Roman & Littlefield Publishers.

Maskowitz, Marc. 2009. Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations. Honolulu: University of Hawai’i Press.

Pease, Rowan. 2006. “Internet, Fandom, and K-Wave in China.” In Korean Pop Music: Riding the Wave. Edited Volume. BRILL/Global Oriental.

Stokes, David. 2004. “Popping the Myth of Chinese Rock,” In Refashioning Pop Music in Asia:  Cosmopolitan Flows, Political Tempos, and Aesthetic Industries. New York: Routledge.

Upton, Janet. 2002. “The Politics and Poetics of Sister Drum: ‘Tibetan’ Music in the Global Marketplace,” In Global Goes Local (Eds. Tim Craig & Richard King). Vancouver: University of British Columbia Press.

Wong, Isabel. 2002. “The Incantation of Shanghai: Singing a City into Existence,” In Global Goes Local (Eds. Tim Craig & Richard King). Vancouver: University of British Columbia Press.

Xiao, Ying. 2013. “Chinese Rock ‘n’ Roll Film and Cui Jian on Screen.” In Oxford Handbook of New Audiovisual Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis.

TAIWAN

Taylor, Jeremy. 2004. “Pop Music as Postcolonial Nostalgia in Taiwan.” In Refashioning Pop Music in Asia:  Cosmopolitan Flows, Political Tempos, and Aesthetic Industries. New York: Routledge.

Schweig, Meredith. 2014. “Hoklo Hip-Hop: Re-sygnifying Rap as Local Narrative Tradition in Taiwan.” CHINOPERL: Journal of Chinese Oral and Performing Literature 33(1).

Taylor, Timothy. 2003. “A Riddle Wrapped in a Mystery: Transnational Music Sampling and Enigma’s ‘Return to Innocence.” In Music and Technoculture (eds. René T. A. Lysloff & Leslie Gay). Middletown: Wesleyan University Press.

JAPAN

Atkins, Taylor. 2001. Blue Nippon: Authenticating Jazz in Japan. Durham: Duke University Press.

Bigenho, Michelle. 2007. “Bolivian Indigeneity in Japan: Folklorized Music Performance.” In Indigenous Experience Today (eds. Marisol de la Cadena & Orin Starn). Oxford: Wenner-Gren Foundation for Anthropological Research.

Bourdaghs, Michael. 2012. Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. New York: Columbia University Press.

Condry, Ian. 2006. Hip Hop Japan: Rap and the Paths of Cultural Globalization. Durham: Duke University Press.

Keil, Charles. 1984. “Music Mediated and Live in Japan.” Ethnomusicology 28(1): 91-96.

Novak, David. 2013. Japanoise: Music at the Edge of Circulation (Sign, Storage, Transmission). Durham: Duke University Press.

Manabe, Noriko. 2008. “New Technologies, Industrial Structure, and the Consumption of Music in Japan.” Asian Music 39(1): 81-107.

–. 2013. “Representing Japan: ‘National’ Style Among Japanese Hip-Hop DJs.” Popular Music 32(1): 35-50.

Oba, Junka. “To Fight the Losing War, to Remember the Lost War: The Changing Role of Gunka, Japanese War Songs,” In Global Goes Local (Eds. Tim Craig & Richard King). Vancouver: University of British Columbia Press.

Robertson, Jennifer. 1998. Takarazuka: Sexual Politics and Popular Culture in Modern Japan. Oakland: University of California Press.

Sterling, Marvin Dale. 2010. Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan. Durham: Duke University Press.

Stevens, Carolyn. 2007. Japanese Popular Music: Culture, Authenticity and Power. London: Routledge.

Yano, Christine. 2002. Tears of Longing: Nostalgia and the Nation in Japanese Popular Song. Cambridge: Harvard University Press.

–. 2004. “Foreign Female Singers in Japanese Pop Music,” In Refashioning Pop Music in Asia:  Cosmopolitan Flows, Political Tempos, and Aesthetic Industries. New York: Routledge.

SOUTH KOREA

Howard, Keith. 2002. “Exploding Ballads: The Transformation of Korean Pop Music,” In Global Goes Local (Eds. Tim Craig & Richard King). Vancouver: University of British Columbia Press.

–. 2006. “Coming of Age: Korean Pop in the 1990s.” In Korean Pop Music: Riding the Wave. Edited Volume. BRILL/Global Oriental.

Jung, Eun-Young. 2006. “Articulating Korean Youth Culture through Global Popular Music Styles: Seo Taiji’s Use of Rap and Metal.” In Korean Pop Music: Riding the Wave. Edited Volume. BRILL/Global Oriental.

Lie, John. 2014. K-Pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea. Oakland: University of California Press.

Pilzer. Joshua. 2012. Hearts of Pine: Songs in the Lives of Three Korean Survivors of the Japanese “Comfort Women.” New York: Oxford University Press.

Russell, Mark James. 2008. Pop Goes Korea: Behind the Revolution in Movies, Music, and Internet Culture. Berkeley: Stone Bridge Press.

NORTH KOREA 

Howard, Keith. 2006. “The People Defeated Will Never Be United: Pop Music and Ideology in North Korea.” In Korean Pop Music: Riding the Wave. Edited Volume. BRILL/Global Oriental.

THEORY/DEFINITIONS

Chen, Kuan-Hsing. 2010. Asia as Method: Toward Deimperialization. Durham: Duke University Press.

Chun, Allen and Ned Rossiter and Brian Shoesmith. 2004. “Introduction,” In Refashioning Pop Music in Asia:  Cosmopolitan Flows, Political Tempos, and Aesthetic Industries. New York: Routledge.

Ching, Leo. 2000. “Globalizing the Regional, Regionalizing the Global.”

Glick Schiller, N., & Salazar, N. B. 2013. “Regimes of Mobility Across the Globe.” Journal Of Ethnic & Migration Studies. 39(2): 183-200.

Longxi, Zhang. 1992. “Western Theory and Chinese Reality.” Critical Inquiry 19(1).

Shin, Hyunjoon, Yoshitaka Mōri and Tunghung Ho (2013). Introduction: Special Issue – East Asian Popular Music and Its (Dis)Contents. Popular Music, 32, pp 1-5.

GLOBAL CIRCULATIONS

Charles Hiroshi Garrett, “Chinatown, Whose Chinatown? Defining America’s Borders with Musical Orientalism.” Journal of the American Musicological Society, 57:1 (2004): 119–73.

Lee, Robert. 1999. Orientals: Asian Americans in Popular Culture. Temple University Press.

Lee, Robert and Wanni Anderson. 2005. Displacements and Diasporas: Asians in the Americans. Rutgers University Press.

Lum, Casey. 1996. In Search of a Voice: Karaoke and the Construction of Identity in Chinese America. L. Erlbaum Associates.

Moon, Krystyn. 2004. Yellowface: Creating the Chinese in American Popular Music and Performance, 1850s-1920s. Township: Rutgers University Press.

Wang, Oliver. 2001. “Between the Notes: Finding Asia America in Popular Music.” American Music 19(4): 439-465.

Wong, Deborah. 2004. Speak It Louder: Asian Americans Making Music. New York: Routledge.

Zhou, Xun, and Tarocco, Francesca. 2007. Karaoke: The global phenomenon. London: Reaktion.


 

PERFORMANCE STUDIES

DEFINING & INFLUENCING THE DISCIPLINE

Conquergood, Dwight. 2002. “Performance Studies.” The Drama Review. 46: 145-153.

Foucault, Michel. 1980. Power/Knowledge. Edited by Colin Gordon. Translated by Colin Gordon, Leo

Marshall, John Mepham, and Kate Soper. New York: Pantheon.

Bourdieu, Pierre. 1991. Language and Symbolic Power. Cambridge, MA: Harvard University Press.

Geertz, Clifford. 1979. “Blurred Genres: The Refiguration of Social Thought.” The American Scholar 49: 165-179.

Lyotard, Jean-Francois. 1976. “The Tooth, The Palm.” Anne Knap and Michel Benamou (trans) SubStance 15: 105-110.

Jackson, Shannon. 2004. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge University Press.

Schechner, Richard. 1985. Between Theater and Anthropology. Philadelphia: University of Pennsylvania Press.

–. 1998. “What is Performance Studies Anyway?,” In The Ends of Performance, Edited by Peggy Phelan and Jill Lane. New York: New York University Press.

States, Bert O. 1996. “Performance as Metaphor.” Theater Journal 48(1): 27-34.

Stuckey, Nathan & Wimmer, Cynthia. 2002. “Introduction,” In Teaching Performance Studies. Southern Illinois University.

Turner, Victor. 1982. From Ritual to Theater: The Human Seriousness of Play. Boston: PAJ Publications.

Wheeler, Britta. 1999. “Negotiating Deviance and Normativity: Performance Art, Boundary Transgressions, and Social Change,” In Interrogating Social Justice: Politics, Culture, and Identity, Marilyn Corsianos and Kelly Amanda Train (eds). Toronto: Canadian Scholars Press.

PERFORMATIVITY

Austin, J.L. 1962. How to do Things with Words: The William James Lectures delivered at Harvard University in 1955, Eds. J. O. Urmson and Marina Sbisà. Oxford: Clarendon Press.

Butler, Judith. 1990. Gender Trouble: Feminism and the Subversion of Identity. London: Routlege.

Reinelt, Janelle. 2002. “The Politics of Discourse: Performativity Meets Theatricality.” Substance 31(1).

Worthen, W.B. 1998. “Drama, Performativity, and Performance.” Publications of the Modern Language Association 113(5): 1093-1107.

Bollen, Jonathan. 2001. “Queer Kinesthesia: Performativity on the Dance Floor.” In Dancing Desires: Choreographing Sexualities on and off the Stage. Edited by Jane C. Desmond, 285-314. Madison, WI: University of Wisconsin Press.

MUSIC PERFORMANCE

Auslander, Philip. 2006. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor: University of Michigan Press, 2006.

Cook, Nicholas. 2013. Beyond the Score: Music as Performance. New York: Oxford University Press.

DeFrantz, Thomas F. 2004. “The Black Beat Made Visible: Hip Hop Dance and Body Power.” In Of the Presence of the Body: Essays on Dance and Performance Theory, edited by Andre Lepecki, 64-81. Middletown, CT: Wesleyan University Press.

Desmond, Jane. 1993-4. “Embodying Difference: Issues in Dance and Cultural Studies.” Cultural Critique 26: 33-63.

Foster, Susan Leigh. 1998. “Choreographies of Gender.” Signs 24(1): 1-33.

McClary, Susan. 2002. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press.

Rayner, Alice. 1993. “The Audience: Subjectivity, Community, and the Ethics of Listening.” The Journal of Dramatic Theory and Criticism 7(2): 3-24.

EVERYDAY LIFE 

Bernstein, Robin. 2011. Racial Innocence: Performing American Childhood from Slavery to Civil Rights. New York: New York University Press.

Certeau, Michel de. 1984. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press.

Goffman, Irving. 1959. The Presentation of Self in Everyday Life. New York: Anchor Books.

Kassabian, Anahid. 2013. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley: University of California Press.

(DIS)ABILITY & THE BODY

Albright, Ann Cooper. 1998. “Strategic Abilities: Negotiating the Disabled Body in Dance.” Michigan Quarterly Review 37(2): 475-501.

Barthes, Roland. 1977 [1972]. “The Grain of the Voice.” In Image – Music – Text, 179-189. New York: Hill and Wang.

Cavarero, Adriana. 2005. For More than One Voice: Toward a Philosophy of Vocal Expression. Palo Alto, CA: Stanford University Press.

Garland-Thomson, Rosemarie. 2002. “Feminist Theory, The Body, and the Disabled Figure.” In Disabilities Studies Reader

Noland, Carrie. 2002. Agency and Embodiment: Performing Gestures/Producing Culture. Cambridge, MA: Harvard University Press.

Schneider, Rebecca. 1997. The Explicit Body in Performance. London and New York: Routledge.

Straus, Joseph. 2006. “Normalizing the Abnormal: Disability in Music and Music Theory.” Journal of the American Musicological Society 59(1): 113-184.

Stras, Laurie. 2006. “The Organ of the Soul: Voice, Damage, and Affect.” In Sounding Off: Theorizing Disability in Music. Edited by Neil Lerner and Joseph N. Straus, 173-184. New York: Routledge.

TECHNOLOGY

Collins, Karen. 2013. Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. Cambridge: MIT Press.

Fritsch, Melanie and Strotgen, Stefan. 2012. “Relatively Live: How to Identify Live Music Performances.” Music and the Moving Image. 5(1): 47-66.

Haraway, Donna. 1991. “A Cyborg Manifeso: Science, Technology, and Socialist-Feminism in the Late Twentieth Century,” In Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge (149-181).

McKenzie, Jon. 1994. “Virtual Reality: Performance, Immersion, and the Thaw.” The Drama Review. 38(4): 83-106.

Phelan, Peggy. 1993. “The Ontology of Performance: Representation Without Reproduction,” In Unmarked: The Politics of Performance. London: Routledge.

POWER

Roach, Joseph. 1998. “The Future that Worked.” Theater 8(2): 19-26.

Ybarra, Patricia. 2009. Performing Conquest: Five Centuries of Theatre, History and Identity in Tlaxcala, Mexico. Ann Arbor: University of Michigan Press.

PLAY

Huizinga, Johan. 1955 [1938]. Homo Ludens: A Study in the Play-Element of Culture. Boston, MA: Beacon Press.

Miller, Kiri. 2012. Playing Along: Digital Games, YouTube, and Virtual Performance. New York: Oxford University Press.

Sontag, Susan. 1964. “Notes On ‘Camp.’” Partisan Review 31: 515-530.

Sutton-Smith, Brian. 1997. The Ambiguity of Play. Cambridge, MA: Harvard University Press.

Whalen, Zach. 2004. “Play Along — An Approach to Videogame Music.” Game Studies 4 (1), http://www.gamestudies.org/0401/whalen/

ETHNOGRAPHY

Samdura, Jaida. 2008. “Memory in our body: Thick participation and the translation of kinesthetic experience.” American Ethnologist 35(4): 665-681.

Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.