5013POP

MUSIC AND THE OTHER

Image: africa / FreeDigitalPhotos.net (used with permission)

Liverpool John Moores University Art and Design Academy Dr Simone Krger [email protected]

People often see their values reflected in the popular music they listen to. Yet popular music not only reflects, but also impacts on and shapes peoples identity. While peoples identity is often complex and multi-faceted, this module will specifically investigate the relationship of popular music to the production and negotiation of gendered and ethnic meanings and identities. In other words, this module will both look at MODULE HANDBOOK culture from the perspective of gender and ethnicity, and at gender and ethnicity from the perspective of its cultural representations. In this way, the module may also point to ways in which unequal power structures and stereotypical, oppressive and racist role models can be revealed and challenged. In addition to questions of representation, this module will pay close attention to the production, distribution, and reception of popular music, investigating who produces the music, how it is circulated, and how differently positioned audiences may take up, resist, or subvert its meanings.

MODULE HANDBOOK

5013POP Music and the Other

Level/ Credits: Pre-requisites: Semester/ Year: Day/ Time: Venue:

Faculty of Media, Arts and Social Science

MODULE AIM This module historicises critical approaches to race/ ethnicity and gender/sexuality within popular music studies. It will investigate the relationship of popular music to the production and negotiation of gendered and ethnic meanings and identities, paying close attention to the production, distribution, and reception of popular music. As well as problematising some methodologies, it will apply contemporary theory to textual manifestations of gender/sexuality and race/ethnicity. Links between these concepts in music, and the wider implications for social and national identity, will also be examined. This module aims to investigate the relationship of popular music to the production and negotiation of gendered meanings and identities, whilst paying close attention to the production, distribution, and reception of popular music. The module will explore theories of race and ethnicity as relevant to the study of popular music, and encourage students to engage with equal-opportunity discourses. LEARNING OUTCOMES Upon completion of this module, students should be able to: Engage with a range of audio-visual and textual conventions in popular music, through which sounds, images and words make meaning. Historicise and critically reflect upon theories of gender, sexuality, race and ethnicity within the field of popular music studies. Utilise and apply a range of theoretical and practical approaches to the study of either race/ethnicity or gender/sexuality in popular music. GRADUATE SKILLS DEVELOPMENT The Graduate skills programme covers eight skills that have been recognised nationally as essential for graduates, whatever their degree subject (see table below). Graduate Skills are basic tranferable skills, essential for graduate roles in all sectors and industries. The eight graduate skills are broken down into smaller criteria, and these criteria have been embedded across selected modules, including this one. They are now a part of all degree courses at LJMU, and as such you will automatically be taught these skill criteria, have an opportunity to practise them, and then will be automatically assessed on them, receiving feedback on your development of the criteria from the assessment. Once you have successfully demonstrated each criterium, and proven that you can reflect on and articulate that skill, LJMU will officially confirm that you are competent in this skill area. As such, you will receive a certificate when you finish your degree that lists all the skill criteria that you successfully demonstrated during your course. See: http://www.ljmu.ac.uk/ECL/93103.htm.

In this module, the following graduate skills will be taught, learnt and assessed, and you will receive formative and summative feedback (together with content-related feedback) on your success in developing each skill: A: Analysing and Solving Problems B: Team Working and Interpersonal Skills C: Verbal Communication D: Written Communication E: Personal Planning and Organising F: Initiative G: Numerical Reasoning H: Information Literacy and IT T T T L L L L L L L L A A A A

TEACHING AND LEARNING The course will be delivered by a combination of lectures, seminars and workshops. Lectures will provide students with the underpinning theoretical knowledge and understanding about subject-specific issues and academic skills. Seminars and workshops will enable students to apply theoretical knowledge that involves problem-solving through tutor-led discussion and debate. Individual tutorials will provide opportunities for students to discuss their PDP and academic development with their personal tutor. Students learning will be supported through using the Virtual Learning Environment Blackboard, which serves as a resource bank for course materials, and as a platform for student-student and student-tutor online interaction (with its inbuilt communication tools, including email and discussion board). Students will also engage in self-directed study to acquire knowledge and skills independently and autonomously, whilst taking own responsibility for the quantity and quality of their learning. Lectures 26 S/ WS 39 Tutorial N/A Fieldwork 10 Other N/A TOTAL 75 165 (self-directed study) 240

Contact hours Noncontact hours TOTAL

SYLLABUS AT A GLANCE September Week 1 Welcome Week Introductory session to part I. Race, Ethnicity and Music w/c 26th: Week 2 Race, the Floating Signifier w/c 19th: October w/c 3rd: Week 3 Music and representation: orientalism and exoticism w/c 10th: Week 4 Ethnicity and the politics of authenticity. Youssou NDour Week 5 Approaches to Analysing Race and Ethnicity in Media Texts. w/c 17th: Revision: Writing a Literature Review th w/c 24 : Week 6 Individual tutorials w/c31st: Week 7 Music, Whiteness and Racism I: German Rechtsrock November w/c 7th: Week 8 Music, Whiteness and Racism II: Nazi Hate Rock w/c 14th: Week 9 Music and Black Nationalism: Hip Hop and the global hood w/c 21st: Week 10 Music, Diaspora and Transnationalism: Global Hip Hop w/c 28th: Week 11 Reading & writing workshop

December w/c 5th: Week 12 Music and Migration: World Music w/c 12th: Week 13 Summary & essay advice Week 14. Individual tutorials. 1st assessment point (literature w/c 19th: review) w/c 26th: Week 15: Christmas Break 26th & 27th: Bank Holiday

January w/c 2nd: Week 16: Christmas Break 2nd: Bank Holiday w/c 9th: Week 17 Introduction to Ethnographic Research Methods w/c 16th: Week 18 Writing Up Ethnography w/c 23rd: Week 19 Ethnography Ethics, Health & Safety Week 20 Musical Constructions and Ideologies of Gender in Popular w/c 30th: Music. Submit ethics application & health & safety

February Week 21 Masculine Beginnings and Feminine Endings: Approaches to Analysing Gender in Media Texts th w/c 13 : Week 22 Individual tutorials. 2nd assessment point (essay) w/c 20th: Week 23 Introducing Feminism & Postfeminism: A Theoretical w/c 6th:

Excursion w/c 27 : Week 24 The Male Gaze: Images of Femininity in Pop Music Video
th

March w/c 5th: Week 25 The Female Gaze?: Masculinity in Popular Music w/c 12th: Week 26 Violence in Pop Music: Impact and Crime w/c 19th: Week 27 Gender and the Music Industry w/c 26th: Week 28 Sounds from the Closet: Queer Issues in Popular Music April w/c 2nd: Week 29: Spring Break 6th: Bank Holiday w/c 9th: Week 30: Spring Break 9th: Bank Holiday w/c 16th: Week 31: Assessment week w/c 23rd: Week 32: Assessment week Week 33: Assessment week. 3rd assessment point (ethnographic w/c 30th: essay)

SYLLABUS week by week Week 1 Welcome week. Introductory session to part I. Race, Ethnicity and Music This first session will introduce students to the challenging concepts of race and ethnicity. We will begin by discussing the ways in which the biological/genetic basis for dividing people into races has been undermined by more recent research across various disciplines. Within popular music studies and ethnomusicology (and indeed cultural studies and the social sciences more generally), race is instead seen as socially constructed, just as ethnicity has become a powerful source of human identification and division in the contemporary world. This lecture will introduce some of the debates involved in thinking about race, ethnicity and music. In-class discussion: DVD documentary Representation & the Media (Stuart Hall) In this accessible introductory lecture, Hall focuses on the concept of "representation"-- one of the key ideas of cultural studies-- and shows how reality is never experienced directly, but always through the symbolic categories made available by society. Reading: Hyder, Rehan. 2004. Music, Culture and Identity in Brimful of Asia: Negotiating Ethnicity on the UK Music Scene. Aldershot: Ashgate, 32-56. Potter, Russell A. 1999. Race in Key Terms in Popular Music and Culture. Eds. Bruce Horner and Thomas Swiss. Oxford: Blackwell, 71-84. Stokes, Martin. 2003. Ethnicity and Race in Continuum Encyclopedia of Popular Music of the World Vol 1. _____ . 1994. Introduction: Ethnicity, Identity and Music in Ethnicity, Identity and Music: The Musical Construction of Place. Ed. Martin Stokes. Oxford: Berg, 1-27.

Race and Ethnicity. http://race.eserver.org/ Week 2 Race, the Floating Signifier The second session will pick up on the previous weeks discussions and continue introducing students to the challenging concepts of race and ethnicity, including the debates involved in thinking about race, ethnicity and music. DVD documentary Race, the Floating Signifier (Stuart Hall) Arguing against the biological interpretation of racial difference, Hall asks us to pay close attention to the cultural processes by which the visible differences of appearance come to stand for natural or biological properties of human beings. Drawing upon the work of writers such as Frantz Fanon, he shows how race is a "discursive construct" and, because its meaning is never fixed, can be described as a "floating signifier." Consider the following key questions: Why is it problematic to define race in biological and generic terms? If race doesnt exist, why do some music scholars continue to write about it? What are the central characteristics of ethnic identities in the contemporary world? Reading: Hyder, Rehan. 2004. Music, Culture and Identity in Brimful of Asia: Negotiating Ethnicity on the UK Music Scene. Aldershot: Ashgate, 32-56. Potter, Russell A. 1999. Race in Key Terms in Popular Music and Culture. Eds. Bruce Horner and Thomas Swiss. Oxford: Blackwell, 71-84. Stokes, Martin. 2003. Ethnicity and Race in Continuum Encyclopedia of Popular Music of the World Vol 1. _____ . 1994. Introduction: Ethnicity, Identity and Music in Ethnicity, Identity and Music: The Musical Construction of Place. Ed. Martin Stokes. Oxford: Berg, 1-27. Race and Ethnicity. http://race.eserver.org/ Week 3 Music and representation: orientalism and exoticism This session is concerned with the orientalist representation of race and ethnicity through music. We will begin with discussions on the ways in which people of colour have often been represented through a process of othering, racism and orientalism. We will specifically look at the social construction of cultural-geographical entities such as the Orient (West Asia) that has been constituted by an imagery and vocabulary that have given it a particular kind of reality and presence in the west. Musical examples from world music and world beat, together with semiotic analyses of representations of musicians in magazines like Songlines will illustrate the ways in which the music industry is still Orientalising the Orient through music. In-class discussion: DVD documentary Edward Said On Orientalism (1998) Edward Said's book Orientalism has been profoundly influential in a diverse range of disciplines since its publication in 1978. In this engaging and lavishly illustrated interview he talks about the context within which the book was conceived, its main themes, and how its original thesis relates to the contemporary understanding of "the Orient" as represented in the mass media.

Reading: Dines, Gail. 2003. King Kong and The White Woman: Hustler Magazine and the Demonization of Black Masculinity in Gender, Race, and Class in Media: A TextReader. Eds. Gail Dines and Jean M. Humez. London: Sage, 451-61. Locke, Ralph P. 2000. On Music and Orientalism in Music, Culture and Society: A Reader. Ed. Derek B. Scott. Oxford: Oxford University Press, 103-9. Said, Edward (1993) Orientalism. London: Penguin. Sturken, Marita and Lisa Cartwright. 2001. Spectatorship, Power, and Knowledge in Practices of Looking: An Introduction to Visual Culture. Oxford: Oxford University Press, 72-108. Additional recommended viewing: DVD Documentary Reel Bad Arabs: How Hollywood Vilifies A People This groundbreaking documentary dissects a slanderous aspect of cinematic history that has run virtually unchallenged from the earliest days of silent film to today's biggest Hollywood blockbusters. Featuring acclaimed author Dr. Jack Shaheen, the film explores a long line of degrading images of Arabs--from Bedouin bandits and submissive maidens to sinister sheikhs and gun-wielding "terrorists"--along the way offering devastating insights into the origin of these stereotypic images, their development at key points in US history, and why they matter so much today. Shaheen shows how the persistence of these images over time has served to naturalize prejudicial attitudes toward Arabs and Arab culture, in the process reinforcing a narrow view of individual Arabs and the effects of specific US domestic and international policies on their lives. By inspiring critical thinking about the social, political, and basic human consequences of leaving these Hollywood caricatures unexamined, the film challenges viewers to recognize the urgent need for counter-narratives that do justice to the diversity and humanity of Arab people and the reality and richness of Arab history and culture. Week 4 Ethnicity and the politics of authenticity. Youssou NDour In this session, we will be concerned with expressions of ethnicity in world music as forms of cultural identity. Particular attention will be paid to questions of authenticity, and whether there is such a thing as an authentic ethnic musical identity by looking at the music of Senegalese international star Youssou NDour. We will consider whether musicians face pressures to remain musically and otherwise premodern, or authentic because of essentialism, ethnocentrism and western demands for authenticity. We will draw conclusions as to the ways in which globalisation has instead generated more hybrid identities and syncretic musical forms. Reading: Bakan, Michael B. 2007. Musical Conversations: Communication and Collective Expression in West African Musics in World Music: Traditions and Transformations. Boston: McGraw, 185-215. Hatch, David and Stephen Millward. 2000. On Black Music and Authenticity in Music, Culture and Society: A Reader. Ed. Derek B. Scott. Oxford: Oxford University Press, 88-91. OFlynn, John. 2007. National Identity and Music in Transition: Issues of Authenticity in a Global Setting in Music, National Identity and the Politics of Location: Between the Global and the Local. Eds. Ian Biddle and Vanessa Knights. Aldershot: Ashgate, 19-38. Taylor, Timothy. 1997. Strategic Inauthenticity in Global Pop: World Music, World Markets.

New York: Routledge, 125-45. Week 5 Workshop: Writing a Literature Review In this workshop session, we will revise the academic conventions and requirements of a literature review. In-class viewing: DVD documentary On the Origins of Cultural Studies (2003) In this classic 1989 lecture, now available for the first time, world-renowned cultural theorist Stuart Hall traces the social, intellectual, and institutional environment from which cultural studies emerged. An invaluable introduction to the issues that inspired cultural studies as both an intellectual and political project. Required reading: Gunaratnam, Y. 2003. Researching Race and Ethnicity: Methods, Knowledge and Power. London: Sage. Stokes, Jane. 2003. How to do Media & Cultural Studies. London: Sage. [specifically chapters 3, 4 and 5] Week 6 Individual tutorials This class is designated for individual tutorials, which will be held individually with your module leader. Please book an appointment via email in advance. Simone will be available to discuss your progress with you, on an individual basis. Week 7 Music, Whiteness and Racism I: German Rechtsrock This session is concerned with the ways in which right ideologies are represented in popular music in the West. We will begin with a working-definition of the right, whilst conceptualising terms like racism and whiteness within the context of the right. Focusing on examples of German Rechtsrock or Nazi-Rock, we will examine through semiotic and lyrical analysis how popular music is used to negotiate, express and model ethnocentric political identities within contemporary youth cultures. We will also assess the dangers of right musical practices and ask questions as to whether Rechtsrock should be banned and censored. In-class discussion: BBC 4 Documentary A History of Racism Students will be expected to listen and take notes, and to think of some questions to ask in the discussion group. The main focus will be on connection between racism and historical background, economic connections, justifications, Social Darwinism/Eugenics (some good examples will look at Tasmanias Aborigines, Blacks in US) and resistance to racism (Haiti). Readings: Back, L. (1996) Neighbourhood nationalism: Youth, race, nation and identity, in New Ethnicities and Urban Culture: Racism and Multiculture in Young Lives London, UCL Press, pp. 49-72 Burns, Robert G. H. (2008) German symbolism in rock music: national signification in the imagery and songs of Rammstein In. Popular Music. Vol. 27, No. 3, pp.457-472 Byrne, D. (2006) Seeing, talking, living race, in White Lives. The interplay of race, class and gender in everyday life. Routledge, London, pp. 72-103

Hall, Stuart. 1996. Racist Ideologies and the Media in Media Studies: A Reader. Eds. Paul Marris and Sue Thornham. Edinburgh: Edinburgh University Press, 271-82. Huq, Rupa. 2006. White Noise: Identity and Nation in Grunge, Britpop and Beyond in Beyond Subculture: Pop, Youth and Identity in a Postcolonial World. London: Routledge, 135-55. Nayak, A. 1999. Pale Warriors: Skinhead Culture and the Embodiment of White Masculinities in Thinking Identities: Ethnicity, Racism and Culture. Eds. A. Brah, M. Hickman and M. Mac an Ghaill. London: Macmillan, 71-99. Twine, F. (1996) Brown Skinned White Girls: class, culture and the construction of white identity in suburban communities, Gender, Place and Culture 3 (2): 205-24 Winders, J. Jones, J. and Higgins, M.(2005) Making Geras: Selling white identities on latenight Mexican television, Gender, Place and Culture 12: 71-93 Wald, Gayle. 1997. One of the Boys? Whiteness, Gender, and Popular Music Studies in Whiteness: A Critical Reader. Ed. Mike Hill. New York: New York University Press, 151-67. Week 8 Music, Whiteness and Racism II: Nazi Hate Rock This session will continue to focus on the ways in which right ideologies are represented in popular music in the West. In-class viewing: DVD documentary Nazi Hate Rock: A McIntyre Investigation (2009) Donal MacIntyre investigates the secretive world of white power music and how the money made helps fund far right political organisations in many countries, including the British National Party in the UK. In this documentary, the crew gained access to the men and women behind one of the most disturbing musical movements. It reveals how British neoNazis and skinheads plan to launch 'Project School-Yard' in Britain after a similar scheme was tried out in the United States. In the UK, the team follows one of the most infamous British white-power bands, Whitelaw, as they prepare for one of the biggest gigs of their career. The band are filmed on stage, with riot police surrounding the venue, performing as the forces of law and order move in to shut down their hate-filled act. The film also contains shocking images of hate rock concerts in the USA where, thanks to the first amendment protecting freedom of speech, anything goes. Nazi Hate Rock is a shocking and revelatory documentary which goes inside a closed movement desperate to promote its right wing hate philosophy but also keep its secrets. In-class discussion: Do you think that there should exist race hate laws? Why/ why not? Legislation in Germany and other European countries make incitement of race crime punishable, which breeches freedom of speech. Do you think its right? Readings: Bonnett, A. (2000) White Identities: Historical and International Perspectives. Harlow, Prentice Hall. Bonnett, A. (2002) The metropolis and white modernity, Ethnicities 2 (3): 349-66 Gillborn, D. (2006) Rethinking white supremacy. Who counts in Whiteworld, Ethnicities 6 (3): 318-40 Holloway, S. (2005) Articulating Otherness? White rural residents talk about GypsyTravellers, Transactions of the Institute of British Geographers NS 30: 351-67 Lott, E. (1993) Racial cross-dressing and the construction of American whiteness, in During,

S. (ed.) The Cultural Studies Reader. 2nd Edition. Routledge, London, pp. 241-55. Steyn, M. (2001) Whiteness just isnt what it used to be: white identities in a changing South Africa. State University of New York Press, Albany, NY. Winders, J. (2003) White in all the wrong places: white rural poverty in the postbellum US South, Cultural Geographies 10: 45-63 Week 9 Music and Black Nationalism: Hip Hop and the global hood This lecture continues from the previous discussions on whiteness by exploring the ways in which popular music can establish notions of black ethnicity, and how fluid such identities are in often plural and idiosyncratic ways. Using hip-hop music as a special case study, we will also consider how this music is used in various contexts and countries to fabricate authentic notions of black ethnicity, and the commercial tensions that emerge when hiphop artists are keepin it real. In-class viewing: BBC Documentary Pop and Politics Chuck D was the first rapper to bring together politics and hip hop through his legendary group Public Enemy, and he's been fighting the establishment for almost twenty years as a voice for dispossessed black Americans. Now Chuck D looks in horror at today's hip hop scene, which glorifies guns, money and violence, but he continues to express his own views through his show on liberal radio station Air America. Pop and Politics looks back over Chuck D's music career and his involvement in the black power movement and American politics, with interviews with Chuck D himself, film director Spike Lee and others. Check out: http://www.therealnews.com. Type in Chuck D in the keyword search where you can find five episodes on Hip Hop and America under the title On the Real Off the Record. Recommended readings: Connell, John and Chris Gibson (2003). Music Communities: National Identity, Ethnicity and Place in Sound Tracks: Popular Music, Identity and Place. London: Routledge, 11743. Demers, Joanna (2003) Sampling the 1970s in hip-hop In Popular Music. Vol. 22, No.1, pp.41-56 Diner, R. 2006. The Other White Meat: Princess Superstar, Irony, Sexuality and Whiteness in Hip Hop. University of Toronto Press. Fraley, T. 2009. I got a Natural Skill: Hip Hop, Authenticity, and Whiteness. Routledge. McLeod, Kembrew (1999) Authenticity Within Hip-Hop and Other Cultures Threatened with Assimilation in Journal of Communication. Vol. 49, No. 4, pp.134-150 Perry, Marc D. (2008) Global Black Self-Fashionings: Hip Hop as Diasporic Space, Identities 15(6): 635-664. Rodman, G. 2009. Race and Other Four-Letter Words: Eminem and the Cultural Politics of Authenticity. Routledge. Shabazz, David L. Public Enemy Number One: A Research Study of Rap Music, Culture, and Black Nationalism in America. Clinton, S.C.: Awesome Records, 1999. Stokes, Martin (ed) 1994. Introduction: Ethnicity, Identity and Music In Ethnicity, Identity and Music: the Musical Construction of Place Oxford: Berg Stratton, Jon. 2008. The Beastie Boys: Jews in whiteface In. Popular Music Vol. 27, No. 3, pp.413-432

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Recommended viewing: DVD documentary Hip Hop: Beyond Beats and Rhymes Hip-Hop: Beyond Beats & Rhymes provides a riveting examination of manhood, sexism, and homophobia in hip-hop culture. Director Byron Hurt, former star college quarterback, longtime hip-hop fan, and gender violence prevention educator, conceived the documentary as a "loving critique" of a number of disturbing trends in the world of rap music. He pays tribute to hip-hop while challenging the rap music industry to take responsibility for glamorizing destructive, deeply conservative stereotypes of manhood. The documentary features revealing interviews about masculinity and sexism with rappers such as Mos Def, Fat Joe, Chuck D, Jadakiss, and Busta Rhymes, hip-hop mogul Russell Simmons, and cultural commentators such as Michael Eric Dyson and Beverly Guy-Shetfall. Critically acclaimed for its fearless engagement with issues of race, gender violence, and the corporate exploitation of youth culture. Week 10 Music, Diaspora and Transnationalism: Global Hip Hop Hip hop became soon diffused across the world and appropriated by artists in all sorts of countries, especially those associated with more recent international migration, such as Sweden, France and Germany. It is largely a product in cities of the diaspora (and amongst the more depressed urban groups), with links to distant sources and roots in Africa. Thus, rather than being the exclusive domain of black Americans, used for promoting a kind of black separatism, rap has been appropriated by whites, Latinos, Turks, Africans, French Arabs, Iraqis, Aborigines, and others, giving it new languages and supporting the fact that music cannot be seen as racially owned. Opening with this position, this session specifically seeks to evaluate the importance of constructed local identities in German rap and the relation of German rappers to concepts such as local, place, authenticity and blackness. Readings: Flores, Juan. From Bomba to Hip Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press, 2000. Forman, Murray. The Hood Comes First: Race, Space, and Place in Rap and Hip Hop. Middletown, Conn: Wesleyan University Press, 2002. _____. Why White Kids Love Hip-Hop: Wankstas, Wiggers, Wannabes, and The Reality of Race in America. New York Basic Civitas Books, 2005. Lornell, Kip. The Beat: Go-Gos Fusion of Funk and Hip Hop. New York: Billboard, 2001. Mitchell, Tony. Global Noise: Rap and Hip Hop Outside the USA. Middletown, Conn.: Wesleyan University Press, 2001. Neal, Mark Anthony and Murray Forman, eds. That's the Joint!: The Hip-Hop Studies Reader. New York: Routledge, 2004. Potter, Russell A. Spectacular Vernaculars: Hip Hop and the Politics of Postmodernism. Albany: State University of New York Press, 1995. Toop, David. The Rap Attack: African Jive to New York Hip Hop. Boston: South End Press, 1984. _____. Rap Attack 2: African Rap to Global Hip Hop. London: Serpents Tail, 1991. _____. Rap Attack 3: African Rap to Global Hip Hop. London: Serpents Tail, 2000. For a full bibliography, see http://guides.library.cornell.edu/hiphopbibliography.

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Week 11 Reading & writing workshop This session is dedicated to a practical hands-on workshop in preparation to writing and finalising the literature review. Students will be provided with sample literature reviews, analyse and discussion the conventions of a good review, and identify strategies for their own literature review. Week 12 Music and Migration: World Music In this lecture/seminar, we will consider more explicitly the implications of migration on race, ethnicity and culture. In popular music studies, migration is recognised as a central process in the making of contemporary identities. In particular, transnational and diasporic migration have been understood to produce complex identities which are multi-sited and fluid. We shall examine the spatialised identity terms associated with migration, such as diaspora and border, to explore their potential for re-imagining identity in more progressive ways. A range of relevant music case studies will support the discussions. Key questions: Why do we need to consider migration in examining the implications of cultural, ethnic and racialised identities? Why are diaspora spaces and border zones considered significant spaces for re-thinking identities in progressive terms? Reading: Brah, A. (1996) Diaspora, border and transnational identities, in Cartographies of Diaspora: contesting identities. London, Routledge, pp. 178-210. Clifford, J. (1997) Diasporas, in Routes: travel and translation in the late twentieth century. Harvard University Press, London, pp. 244-77. Grosfoguel, R. (2004) Race and ethnicity or racialised ethnicities? Identities within global coloniality, ethnicities 4: 315-36. Additional readings: Anzalda, G. (1999) Borderlands La Frontera: the new mestiza. 2nd Edition, Aunt Lute Books, San Francisco. Braziel, J. and Mannur, A. (eds.) (2003) Theorising Diaspora: a reader. Blackwell, Oxford. Brubaker, R. (2005) The diaspora diaspora, Ethnic and Racial Studies, 28 (1): 1-19 Cohen, R. (1997) Global Diasporas: An Introduction, University of Washington Press, Seattle. Gilroy, P. (1993) The Black Atlantic: Modernity and Double Consciousness. Routledge, London. Parker, D. (2000) The Chinese Takeaway and the Diasporic Habitus: Space, Time and Power Geometries, in Hesse, B. (ed.) Un/Settled Multiculturalisms: Diasporas, Entanglements, Transruptions. Zed Books, London, pp.73-95 Rapport, N. and Dawson, A. (eds.) (1998) Migrants of Identity: perceptions of home in a world of movement. Berg, Oxford. Week 13 Summary & essay advice During this final session, we will sum up the first part of this module as a whole. We will also discuss the specific requirements of the written assignment (essay), including a critical analysis of the provided questions; possible approaches to answering the question;

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conventions of good academic writing. Students will also be provided with some sample essays by students who completed the module in the previous year, whilst identifying the sample features of an excellent essay. Week 14 Individual tutorials This final week before Christmas is designated for optional individual tutorials, upon request by students. *** DEADLINE LITERATURE REVIEW 16 DECEMBER 2011 ***

CHRISTMAS BREAK Week 17 Introduction to Ethnographic Research Methods This lecture will introduce ethnography as a suitable means for studying and understanding the complex social processes and relationships involved in the production and negotiation of gendered stereotypes through music. We will also map the topography of feminist ethnography. In direct preparation to your second assignment, we will discuss what ethnographic research is, and how it can be used to study, understand and illustrate the gendered representations evident on our own doorsteps. To this end, you will be required to discuss a research design for your own ethnographic research, and with it, to develop research questions; to set up a research project; to devise a sampling plan; discuss ways of collecting and analysing data, and the ethical considerations for which you must account. Required reading: *Krger, Simone (2008). Ethnography in the Performing Arts: A Student Guide. Lancaster: PALATINE Whilst you will be provided with the resource, the student guide is also available for FREE download at http://www.palatine.ac.uk/development-awards/1133/. Recommended reading: Skeggs, Beverley (2007). Feminist Ethnography, in Handbook of Ethnography, eds. Paul Atkinson, Amanda Coffey, Sara Delamont, John Lofland and Lyn Lofland. London: Sage, 426-42. Week 18 Writing Up Ethnography In this session, we will discuss and consolidate your understanding of ethnography, and what your own research project may look like. By now, you should have begun to read the Student Guide to Ethnography [distributed in the first week of the module], and we will use this as the basis for the discussions. We will also read examples of ethnographic projects by other students. Finally, we will explore in a supportive and non-threatening atmosphere what youll select as the topic for your own project. By the end of the session, you will have derived (and written up) a more concrete research plan. Week 19 Ethnography Ethics, Health & Safety Every research project involving humans raises ethical concerns, and this session is

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designated to discuss and raise awareness of ethical codes of conduct so as to ensure that no participant would be harmed, be it physically, emotionally, financially, professionally, etc. In doing so, we will read the universitys own code of practice and discuss the requirement of completing an application for ethic approval prior to a research project. We will also discuss the health & safety issues that may arise during the conduct of fieldwork, and we will consider the universitys requirements to complete a risk assessment. NOTE: Students are not allowed to embark on fieldwork research before they have been given full ethical approval, and before a risk assessment has been completed. Recommended reading: Creswell, John (2005). Pages 11-12; 225-227; 171 in Educational Research: Planning, Conducting and Evaluating Quantitative and Qualitative Research. Pearson. Krger, Simone (2008). Ethnography in the Performing Arts: A Student Guide. Lancaster: PALATINE. [available online at http://www.palatine.ac.uk/developmentawards/1133/] specifically pages 19-21, 62-64, 98-102. Seminar: In this session, we will practise completing an application to an ethics committee for ethical approval for research projects with human participants, and a risk assessment, as required by the university. You will be provided the following sources: The topic and brief description for a research project in pop music; Ethics application form; LJMU Research Code of Conduct Health & Safety Regulations Risk Assessment Week 20 Musical Constructions and Ideologies of Gender in Popular Music. Submit ethics application & health & safety This lecture will suggest that gender roles are not simply natural but socioculturally constructed, and that they are subject to cultural influence and historical change. It will be illustrated how artistic and cultural discourses participate in the construction of gender, both by establishing or reinforcing them, and by challenging them. Throughout the lecture, examples of contemporary popular music will demonstrate the naturalising of normative gender and sexuality stereotypes so as to challenge the ways in which normative (and oppressive) conceptions of gender are often re-enforced by being described as natural. It will be shown how culture acts as a forum for negotiating value systems, both overtly (e.g. in song texts, the narratives of novels, films, operas, soap operas or media stories) and covertly (e.g. in the forms of representation by which such narratives are presented). Popular music plays an important role in such negotiations, not least because of its manipulative emotional power coupled with its seeming opacity to intellectual reflection.

Introduction to Musical analysis me practical exercises will be conducted in the perception of gender and sexuality in music. Students will listen to music and watch music videos to discuss examples of the naturalising of normative gender and sexuality stereotypes from musical culture, and evaluate the ways in which such representations have been challenged or subverted. Students will also be introduced to a holistic model of musical analysis that focuses on lyrics, music sound and image.

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Week 21 Masculine Beginnings and Feminine Endings: Semiotical Approaches to Analysing Gender In this session, we will provide a methodological foundation by examining the key approaches for a semiotical analysis of gender in media texts. We will specifically consider how Western popular music constructs agendas of masculinity and femininity through musical sound. The lecture will illustrate how popular music uses musical codes to reflect and construct gender (Here it will be highlighted that these codes are fed back into the semiotic system and define gender roles), whereby high registers, softness, lyrical lines, ornamentation (and chromatic harmony) are often constructed as feminine, whereas low register, loudness, aggressive and terse structures (as well as diatonic harmony) are often viewed as masculine. A number of examples from popular music will illustrate this. The lecture will suggest that musical meaning is derived through association with other media (words, images, narratives) and social contexts such as dance, as well as through its integral structure. The pervasiveness of expressly gendered music in film, TV advertising, music video, etc means that our identity may be constructed and learned through cultural forms such as music. Required reading: *Gill, Rosalind (2007). Analysing Gender in Media Texts, in Gender and the Media. Cambridge: Polity, 42-72. Note that the article will be provided prior to this session. Further recommended readings: Gill, Rosalind. 1996. Ideology, Gender and Popular Radio: A Discourse Analytical Approach, in Turning It On: A Reader in Women & Media. Eds. Helen Baehr and Ann Gray. London: Arnold, 211-217. Kruse, Holly. 1999. Gender in Key Terms in Popular Music and Culture. Eds. Bruce Horner and Thomas Swiss. Oxford: Blackwell, 85-100. Stokes, Jane. 2003. How to do Media & Cultural Studies. London: Sage. [chapters 3, 4 and 5] Van Zoonen, Liebet. 1994. Research Methods, in Feminist Media Studies. London: Sage, 127-47. Walser, Robert. 1993. Beyond the Vocals: Toward the Analysis of Popular Musical Discourses in Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover: Wesleyan University Press, 26-56. Whiteley, Sheila. 1997. Seduced by the Sign: An Analysis of the Textual Links between Sound and Image in Pop Videos in Sexing the Groove: Popular Music and Gender. Ed. Sheila Whiteley. London: Routledge, 259-276. Week 22 Individual tutorials. 2nd assessment point (essay) This class is designated for individual tutorials, which will be held individually with your module leader. Please book an appointment via email in advance. Simone will be available to discuss your progress with you, on an individual basis. *** 2ND ASSESSMENT (ESSAY) DEADLINE 17 February 2012*** Week 23 Introducing Feminism & Postfeminism: A Theoretical Excursion The first part of this session provides a conceptual overview of feminist approaches to popular music studies. Important theoretical and methodological issues will be examined in

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relation to case studies (specifically Joni Mitchell) to illustrate popular musics role in the construction of gender relations. We will begin by identifying the ways in which sexism is constructed in popular music, and the role played by liberal feminism in upsetting hegemonic structures and practices. We will move on to consider radical feminism by asking questions about sexualisation, gender and power, and then introduce socialist feminism by also considering the voices of men/masculinity in popular music. We will begin thinking about whether Britney Spears or Christina Aguiliera are feminist role models for young women, and if so, why. Required Reading *Wald, Gayle (1998). Just a Girl? Rock Music, Feminism, and the Cultural Construction of Female Youth. Feminisms and Youth Cultures, Vol. 23, No. 3, pp. 585-610 Supplementary Reading Beasley, C. (1999). What is Feminism? An Introduction to Feminist Thought. London: Sage. Beynon, J (2002) Masculinities and Culture. Buckingham: Open University Press. Bryson, Valerie (2003, 2nd edn.) Feminist Political Theory: An Introduction (FPT), Basingstoke: Palgrave. Burns, Lory and Melisse Lafrance. 2001. Disruptive Divas: Feminism, Identity, and Popular Music. Routledge. Carter, C. and L. Steiner (eds) (2004). Critical Readings: Media and Gender. Maidenhead and New York: Open University Press. Pilcher, J and Welham, I (2004) 50 Key Concepts in Gender Studies. London: Sage. Walter, N. (1999) The New Feminism. London: Virago. Walters, Margaret. 2005. Feminism: A Very Short Introduction. Oxford: Oxford University Press. Whelhan, I (2000) Overloaded: Popular Culture and the Future of Feminism. London: Womens Press. Whiteley, Sheila (ed) (1997). Sexing the groove: popular music and gender. Routledge: London. ______ . 2000. Women and popular music: sexuality, identity and subjectivity. Routledge: London. ______ . 2003. Too much too young: popular music, age, and gender. Routledge: London. Whiteley, Sheila and Jennifer Rycenga (eds) (2006). Queering the popular pitch. Routledge: New York NY; London. Wood, J. (1994). Gendered Media: The Influence of Media on Views of Gender, in Gendered Lives. Ed. J. Wood. Belmont CA: Wadsworth, 213-58. In the second part, we will move on to postfeminism: We will continues to explore theoretical ideas and concepts surrounding feminism by moving on to what has become known as postfeminism, the so-called third-wave feminism. Its origins can be found in the 1980s, as its followers believe that the concept of feminism is irrelevant in society, and that gender inequality is not a modern-day problem. The term post-feminism does not imply that the era of feminist theory and activism have concluded (victoriously or otherwise). Rather, postfeminism acknowledges that the fractured identity of the individual has changed in the postmodern society, informed by social change predicated in part by feminist influence; it is a tangential evolution of feminist thought. Postfeminism is thus an anti-essentialist philosophy that opposes simplistic gender

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constructs of binary opposition (i.e., man and woman) in order to explore and identify conceptions of women outside of the mother/whore dichotomy. Postfeminist discourse examines the gradual elimination of another form of binary opposition as well: "feminists" versus "non-feminists". The defactionalization of these once clearly-delineated groups is a result of the success of feminist praxis and activism in making gender inequality a concern of mainstream culture, in Western civilization and in other sociocultural contexts. Recommended reading: Gamble, Sarah (ed.) 2001. The Routledge Companion to Feminism and Postfeminism. Routledge. Genz, Stephanie. 2009. Postfeminism: Cultural Texts and Theories. Edinburgh University Press. Genz, Stephanie. 2009. Postfeminities in Popular Culture. Palgrave. Genz, Stephanie. 2006. Third Way/ve: The Politics of Postfeminism, in Feminist Theory 7, 333-53. Phoca, Sophia and Rebecca Wright. 1999. Introducing Postfeminism. Icon Books. Week 24 The Male Gaze: Images of Femininity in Pop Music Video This session centres on very different constructions of feminine/ female identities in pop videos. The lecture will discuss how and why these texts react to dominant ascriptions of gender and sexuality in society, but also on the role of the female star within the ownership and power structures of the music business, and the possibilities for self-expression open within this framework. We will also explore how musics power rests not least in its ability to attach itself to other codes. After all, what the visual language of music video makes evident lies at the heart of the mythology of music in Western culture, namely that it acts as an expression of sexual desire and that voice, in particular the female voice, is a representation of the body. Reinforcing or Challenging Female Gender Stereotypes in Pop Videos Students will watch some of the following videos: Madonna. 1990. Like a Virgin and Justify my Love. The Immaculate Collection DVD. Annie Lennox/ Eurythmics. 1983. Sweet Dreams. Eurythmics: Sweet Dreams Video Album DVD. Britney Spears. 2003. Me Against the Music (feat. Madonna). Britney Spears: In the Zone DVD. Missy Elliott. 2002. Get your Freak on. Superhuman: Missy Elliott and Busta Rhymes DVD. In small groups, answer the following questions: Is Madonnas manipulation of gender roles genuinely empowering, or does it simply juggle different male-oriented stereotypes that remain prescriptive and limiting? Is non-prescriptive representation of gender and sexuality possible in music video, particularly for sexual dissidents? Consider by whom and for whom music videos are made, and what function they serve, and discuss suitable examples (inside and/or outside the cases discussed in the course). Apart from their role as singers, women are seriously under-represented on all levels of the pop music business. For instance, there are very few female instrumentalists, and these tend to play in all-girl bands. (When it comes to instrumentalists, pop music is segregated by gender!) Why could this be? Should this change? If so, what needs to happen for it to change?

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Recommended readings: Lewis, Lisa A. 1993. Being Discovered: The Emergence of Female Address on MTV in Sound and Vision: The Music Video Reader. Eds. Simon Frith, Andrew Goodwin and Lawrence Grossberg. London: Routledge, 129-51. Van Zoonen, Liesbet. 1994. Spectatorship and the Gaze, in Feminist Media Studies. London: Sage, 87-104. Whiteley, Sheila. 2000. Challenging the Feminine: Annie Lennox, Androgyneity and Illusions of Identity in Women and Popular Music: Sexuality, Identity and Subjectivity. London: Routledge, 119-35. Week 25 The Female Gaze?: Masculinity in Popular Music Masculinity is no less constructed than femininity. Indeed, in modern western societies the general acceptance of greater equality for women has meant that masculinity is perceived as more of a problem than femininity. Some musical genres may be seen as part of a wider reassertion of masculinity by mainly white middle class males. Other musical genres assert masculinity by reviving forms of misogyny and homophobia that have aroused significant anger. The lecture will assessby listening to music, watching videos, and analysing lyrics, sound and imagethe extent to which certain musical forms (i.e. heavy metal, rock; industrial rock, gangsta rap) reflect and construct, and/or subvert male heterosexual dominance. Conclusions will be drawn on the ways in which these musics are culturally constructed as masculine, and what signs and symbols are being used for the representation of masculinity. Misogyny and homophobia in popular music Specific examples from heavy metal, rock and industrial rock and gangsta rap will be examined that highlight subcultural and racial specificities in the construction of gender and sexuality. Students will also discuss the following questions: What is meant by misogyny and homophobia, and how do certain musical genres reflect processes of identity formation of sub- and counter-cultural communities. Why have such musical genres, which assert masculinity by reviving forms of misogyny and homophobia arouse anger? There have been frequent calls to police to censor gangsta rap because of its sometimes blatant misogyny, and a recent concert by the Jamaican reggae musician Beenie Man has been cancelled because of his violently homophobic lyrics. Are these actions necessary to protect vulnerable people, or do they represent the hysterical and repressive reactions of a dominant culture that cannot comprehend and tolerate minority groups? Recommended readings: Berry, Venice T. 1994. Feminine or Masculine: The Conflicting Nature of Female Images in Rap Music in Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Eds. S. C. Cook and J. S. Tsou. Urbana: University of Illinois Press. Denski, Stan and David Sholle. 1992. Metal Men and Glamour Boys: Gender Performance in Heavy Metal, in Men, Masculinity, and the Media. Ed. Steve Craig. London: Sage, 4160. Dines, Gail and Jean M. Humez. 1995. Music Videos and Rap Music: Cultural Conflict and Control in the Age of the Image in Gender, Race and Class in Media: A Text-Reader. Eds. Gail Dines and Jean M. Humez. London: Sage, 479-87.

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Gaunt, Kyra D. 1995. African American Women Between Hopscotch and Hip-Hop: Must Be the Music (Thats Turnin Me On), in Feminism, Multiculturalism, and the Media: Global Diversities. Ed. Angharad N. Valdivia. London: Sage, 277-308. Perry, Imani. 2003. Who(se) Am I? The Identity and Image of Women in Hip Hop, in Gender, Race, and Class in the Media: A Text-Reader. Eds. Gail Dines and Jean M. Humez. London: Sage, 136-48. Week 26 Violence in Pop Music: Impact and Crime In preparation to the lecture, read the provided article, which suggests that there exists a link between MTV and sexual abuse http://www.udel.edu/PR/UpDate/93/11/12.html. Search for literature, i.e. articles in newspapers, mags, internet, etc that similarly claim a link between media violence and crime. Bring this to the session, and be prepared to talk about your example. During the session, students will watch the DVD Dreamworlds 2: Desire, Sex and Power in Music Video, and then discuss the following questions: Assess the extent to which gendered representations in music videos can impact on criminal behaviour. Is there a direct relationship? Are there other factors that may cause criminal behaviour? After watching the DVD, discuss the impact of sexual imagery in music videos. How do young men and women see themselves (and each other) in terms of sexuality and gender? To which extent have these representations become naturalised? Recommended readings: Lacourse, Eric, Michel Claes and Martine Villeneuve. 2001. Heavy Metal Music and Adolescent Suicidal Risk in Journal of Youth and Adolescence 30 (3), 321-32. Rich, Michael, Elizabeth R. Woods, Elizabeth Goodman, S. Jean Emans, and Robert H. DuRant. 1998. Aggressors or Victims: Gender and Race in Music Video Violence in Pediatrics 101 (4), 669-74. Rose, Tricia. 2003. Hidden Politics: Discursive and Institutional Policing of Rap Music, in Gender, Race, and Class in the Media: A Text-Reader. Eds. Gail Dines and Jean M. Humez. London: Sage, 396-405. Week 27 Gender and the Music Industry Throughout the music industry, women professionals have typically been underrepresented. As a result, music television stations, such as MTV play a powerful role in the portrayal of gendered stereotypes through body images, song lyrics, videos, and instruments of choice. We will discuss how women in pop music use their sexuality as a means to achieve popularity with values usually regarded as feminine, such as emotionality and sensuousness in contrast to the dominant cultural tropes associated with masculinity, such as violence, rationality or logocentricity. The lecture will illustrate the struggle for success in pop and rock music as driven by the predominantly male-dominated music industry. Recommended Readings: Baker, Sarah L. 2000. Women just dont cut it: Women in the Popular Music Industry in Changing Sounds: New Directions and Configurations in Popular Music. Eds. Tony Mitchell, Peter Doyle with Bruce Johnson. Sydney: University of Technology, 342-7. Davies, Helen. 2004. The Great Rock and Roll Swindle: The Representation of Women in the British Rock Music Press, in Critical Readings: Media and Gender. Eds. Cynthia Carter and Linda Steiner. Maidenhead: Open University Press, 162-78.

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Kaplan, Ann E. 1996. Feminism/Oedipus/Postmodernism: The Case of MTV, in Turning It On: A Reader in Women & Media. Eds. Helen Baehr and Ann Gray. London: Arnold, 3343. Leonard, Marion. 2007. Gender in the Music Industry: Rock, Discourse and Girl Power. Aldershot: Ashgate. Lewis, Lisa A. 1990. Conditions of Cultural Struggle in Gender Politics and MTV: Voicing the Difference. Philadelphia: Temple University Press, 55-72. [Also, explore the other chapters in this book.] Week 28 Sounds from the Closet: Queer Issues in Popular Music This lecture will concern the expression of same-sex desire in music in pop acts. It can be argued that the cultural otherness of music created a refuge for gays and lesbians since music permitted, even demanded, the display of emotion precisely at a time when this was not considered legitimate in wider culture, thus particularly favouring otherwise repressed desires. In discussing how musicians manipulated existing codes in order to express their identities and desires, it will also be considered whether there is such a thing as a core gay or lesbian identity that remains constant throughout history, or whether every period reconfigures sexuality in basically incomparable ways. Can Music be Queer? Students will watch further examples of popular music and consider the following questions: It is important to know whether The Pet Shop Boys, Madonna (i.e. Justify My Love), Paula Cole, and others were/ are gay or lesbian (or not) in order to understand their music? In what ways does this alter our perception and reading of the text? Is there such a thing as a gay sensibility to music that makes it so amenable to the expression of same-sex desire, and is there a specific code for representing sexual dissidence (you may, but dont have to, consider club culture, or the meaning of camp and queer in music)? In this context, also consider whether there such a thing as lesbian masculiniy for the expression of same-sex desire and sexual dissidence. Recommended reading: Brett, Philip and Elizabeth Wood. 2002. Lesbian and Gay Music in Electronic Musicological Review VII. Available at: http://www.rem.ufpr.br/REMv7/Brett_Wood/Brett_and_Wood.html. [Original in New Grove II] Whiteley, Sheila. 2006. Popular Music and the Dynamics of Desire in Queering the Popular Pitch. Eds. Sheila Whiteley and Jennifer Rycenga. London: Routledge, 249-62.

SPRING BREAK Week 31 - 33 Assessment weeks *** 3rd ASSESSMENT (ETHNOGRAPHIC ESSAY) DEADLINE 30 APRIL 2012 ***

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ASSESSMENT The module enables students to demonstrate a range of academic and competency-based skills and subject-specific knowledge, and an ability to use knowledge in applied contexts. In order to complete the module successfully, students must pass the following pieces of work (pass mark 40%): ASSESSMENT COMPONENT Literature review Duration 1,500 words Timing 16 December 2011 17 February 2012 30 April 2012 % of final mark 30%

Essay

1,500 words

30%

Ethnographic essay

2,500 words

40%

1. Literature review (30%) Prepare a literature review of 1,500 words that you think will help you to prepare for the essay. Some advice on preparing the review: Your review should contain at least ten sources, of which at least six should be academic resources (e.g. books, journal articles). The others may be materials from newspapers; popular media (magazines, fanzines); websites; images; CD sleeves; or documentaries. You should highlight your thinking about the theoretical position of the literature, as well as your consideration of the sources reliability, what is excluded from consideration in the sources, and how it contributes to an understanding of the topic in hand. Advice on writing a literature review will be provided in-class. You can also get useful tips from www.ssdd.uce.ac.uk/leaner/New%20page.htm and http://www.lib.unimelb.edu.au/postgrad/litreview/home.html. This assignment should be of 1,500 words and should be correctly referenced to Harvard standard. 2. Essay (30%) Select one of the following questions and write a critical response of 1,500 words length. A. How does nationality and national identity impact on the musical practices of specific ethnic groups? B. Why do we need to consider concepts like diaspora and migration in examining and understanding musical practices of particular ethnic groups? C. What is the role played by orientalism and exoticism in musical practices of particular ethnic groups? D. Why is the label black (e.g. black music) a political signifier rather than a natural category? E. Why might attention to whiteness be an important addition to studying race and

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ethnicity in popular music? F. How are racisms reproduced in the musical practices of particular ethnic groups? Some advice on preparing the essay: Select the question carefully according to your own interests and available resources. Your submitted essay should contain (at the start) your chosen essay question, from which you should develop a clear thesis statement in response to the question. Prepare a mind-map of your argumentation, e.g. the issues/arguments you wish to address to support/contradict your thesis statement. Your bibliography should contain relevant resources from your literature review and other sources you found. 3. Ethnographic essay (40%) 1. Conduct ethnographic research in a local music culture (e.g. scene, club) and write an ethnographic report of 2,000 words on the following question: How are gendered notions and ideas represented in musical performances? In approaching this task, you should read the following book and consider the points below: Krger, Simone (2008). Ethnography in the Performing Arts: A Student Guide. Lancaster: PALATINE [available at http://www.palatine.ac.uk/developmentawards/1133/] The question requires you to do fieldwork, and observe live musical performances, and talk to the fans or listeners about their perceptions. Think about whether audiences perceive gendered notions at all, e.g. consciously? Or, are ideas about gender occurring at a sub-conscious level? Does this matter to think about gender in popular music. Whats the reason for some peoples interest in such matters? Why is it important to think about gender? Your submitted paper should contain (at the start) your essay question, from which you should develop a clear aim and objectives in response to the task. It is advisable to prepare a rough essay draft that outlines a synopsis of your argument, e.g. the issues addressed to confirm/contradict the thesis statement. Finally, your bibliography should contain relevant sources, including scholarly articles, newspaper articles, websites, images, reviews, etc.

SUBMISSION OF WRITTEN WORK All written work must be submitted electronically via Blackboards Assignment handler. Detailed guidance on How to submit your coursework electronically is available here: http://blackboard.ljmu.ac.uk/bbcswebdav/pid-1767366-dt-content-rid4164403_3/orgs/STUHELP9/Documents/submitting%20your%20coursework.pdf. After your work has been marked, feedback and marks will be made available on Blackboard. Detailed guidance on How to access feedback and marks is available here: http://blackboard.ljmu.ac.uk/bbcswebdav/pid-1767366-dt-content-rid4164443_3/orgs/STUHELP9/Documents/how%20to%20access%20feedback.pdf.

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Both guides will also be uploaded on Blackboard; see Assignments. FEEDBACK ON ASSESSMENT Feedback is a very important part of your learning, as it is our mechanism to let you know whether you are on the right track in your work, and where and how your learning and performance can be improved. The feedback on this module will be provided in the form of formal feedback on assessment, both formative and summative. Formative feedback seeks to improve your work in the future, which will be provided as follows: Generic feedback in-class during lectures and seminars on what you appear to be struggling with, without reference to individual assessments. This feedback will be provided verbally to the whole class. Self assessment of your own achievement in assessed work (e.g. in-class test) that will be returned to you during the module. The self-assessment is a written exercise and will be completed in-class against a checklist of assessment criteria. Your tutor will then provide individual feedback on your self-assessment via email. Peer feedback on sample work by peer students. Against clear assessment criteria, you will be asked to assess work by another student and provide full written feedback. Your tutor will comment on your feedback verbally in-class. Summative feedback will be given to sum up the final judgement of the quality of your work, which will be provided by your tutor in writing on each assessment item within 3 weeks after assessment. FEEDBACK TIMETABLE ASSESSMENT COMPONENT Reading workshop Literature review Deadline Nov 11 16 December 2011 Jan 12 17 February 2012 March 12 30 April 2012 Type of feedback Formative Summative Feedback by Within 3 weeks Within 3 weeks

In-class exercise Essay

Formative Summative

In-class Within 3 working weeks In-class Within 3 weeks

Peer feedback Ethnographic report

Formative Summative

The below ASSESSMENT MAP provides details about learning outcomes, assessment points, including formative and summative feedback.

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ASSESSMENT MAP

Oct

Nov

Dec

Jan

Feb

Mar

Apr

Engage with a range of audio-visual and textual conventions in popular music, through which sounds, images and words make meaning. Historicise and critically reflect upon theories of gender, sexuality, race and ethnicity within the field of popular music studies. Utilise and apply a range of theoretical and practical approaches to the study of either race/ethnicity or gender/sexuality in popular music.

in-class exercise Reading workshop Lit review 30%

1500 words 30%

peer feedback

2500 words 40%

MARKING CRITERIA (GENERIC GRADE DESCRIPTORS) 85 % - 100% (A+) This is exceptional work in terms of structure and content, demonstrating a clear understanding of the subject matter. The work evidences critical evaluation of research. Proposals/arguments are well-defined and demonstrate a thorough consideration of all relevant issues. A very high level of intellectual work. 70% - 84% (A) This work is perceptive, coherent, logical and precise. An awareness of relevant issues and broad subject knowledge is clearly evident. The work demonstrates a high level of critical analysis including original and fresh insights. This is a high level of intellectual work. 60% - 69% (B) The work is accurate, structured and coherent. Arguments/proposals are clearly developed and relevant. The work demonstrates an appreciation of the main issues, but limited awareness of the broader issues and lacks critical analysis. Good discussion and interpretation of material evidences a competent understanding of the subject matter. This is a very good standard of work. 50% - 59% (C) This is a solid body of work which grasps the main issues. Proposals are appropriate but do not always recognise the broader implications associated with the subject matter. Discussions are largely general and descriptive, lacking in critical analysis. Proposals are presented but lack development. This is a competent standard of work. 40% - 49% (D) The work demonstrates basic knowledge but is limited in its response. Critical analysis and awareness of the broader issues are clearly lacking. Any attempted analysis is general and incomplete or inappropriate to the subject matter. The work is largely descriptive in its approach with proposals/arguments that are narrow in scope. This is a below average standard of work. 30% - 39% (E) The work evidences very limited grasp of the subject matter and teaching material. This is an inadequate approach demonstrating insufficient awareness and understanding of relevant issues. The work may be badly organised and lacking in coherence. This is an unsatisfactory standard of work. 0% - 29% (F) This work is incomplete, and lacks basic structure or coherence. There is very limited relevant material, evidencing a total lack of understanding and grasp of the subject matter. There is no evidence of discussion and proposals/arguments may be irrelevant. The work presented does not fulfil the requirements of the module. BIBLIOGRAPHY PART I IASPM ONLINE BILBIOGRAPHY - database http://iismc.cini.it/ Theorising race and ethnicity Barker, Chris. 2000. Ethnicity, Race and Nation in Cultural Studies: Theory and Practice. London: Sage, 247-78.

Croteau, David and William Hoynes. 1997. Social Inequality and Media Representation in Media/ Society: Industries, Images and Audiences. London: Pine Forge Press, 133-61. _____ . 1997. Media and Ideology in Media/ Society: Industries, Images and Audiences. London: Pine Forge Press, 163-83. Dines, Gail and Jean M. Humes (eds.) 2003. Gender, Race and Class in Media: A Text Reader. London: Sage. Dissanayake, Wimal. 2005. Introduction: Race, Ethnicity, and Nation in Internationalizing Cultural Studies: An Anthology. Eds. Ackbar Abbas and John Nguyet Erni. Malden: Blackwell, 385-89. Downing, John and Charles Husband. 2005. Race and Ethnicity: Definitions and Issues in Representing Race: Rasicms, Ethnicities and Media. London: Sage, 1-24. Hall, Stuart 1992. New Ethnicities in Race, Culture and Difference. Eds. J. Donald and A. Rattansi. London: Sage, 252-59. Hutchinson, J. and A. Smith (eds.) 1996. Introduction in Ethnicity. Oxford: Oxford University Press, 1-17. Hyder, Rehan. 2004. Music, Culture and Identity in Brimful of Asia: Negotiating Ethnicity on the UK Music Scene. Aldershot: Ashgate, 32-56. Kidd, Warren. 2002. Ethnicity and Identity in Culture and Identity. Hampshire: Palgrave, 190-97. Malik, K. 1996. The Making of a Discourse of Race in The Meaning of Race: Race, History and Culture in Western Society. Basingstoke: Macmillan, 71-100. Malik, Sarita. 2002. Race and Ethnicity: The Construction of Black and Asian Ethnicities in British Film and Television in The Media: An Introduction. Eds. Adam Biggs and Paul Cobley. Harlow: Pearson/Longman, 357-68. OShaughnessy, Michael and Jane Stadler. 1999. Ethnicity, Ideology, and the Media in Media and Society: An Introduction. Oxford: Oxford University Press, 260-83. Potter, Russell A. 1999. Race in Key Terms in Popular Music and Culture. Eds. Bruce Horner and Thomas Swiss. Oxford: Blackwell, 71-84. Shepherd, John. 2003. Music and Social Categories in The Cultural Study of Music: A Critical Introduction. Eds. Martin Clayton, Trevor Herbert and Richard Middleton. New York: Routledge, 69-79. Song, M. 2003. Choosing Ethnic Identity. Cambridge: Polity. Stokes, Martin. 2003. Ethnicity and Race in Continuum Encyclopedia of Popular Music of the World Vol 1. _____ . 1994. Introduction: Ethnicity, Identity and Music in Ethnicity, Identity and Music: The Musical Construction of Place. Ed. Martin Stokes. Oxford: Berg, 1-27. Nationalism and regionalism in music Appadurai, Arjun. 2005. Patriotism and Its Futures in Internationalizing Cultural Studies: An Anthology. Eds. Ackbar Abbas and John Nguyet Erni. Malden: Blackwell, 413-17. Biddle, Ian and Vanessa Knights (Eds.) 2007. Music, National Identity and the Politics of Location: Between the Global and the Local. Aldershot: Ashgate. Biddle, Ian and Vanessa Knights (Eds.) 2007. National Popular Musics: Betwixt and Beyond the Local and Global in Music, National Identity and the Politics of Location: Between the Global and the Local. Aldershot: Ashgate, 1-15. Bohlman, Philip V. 2004. The Music of European Nationalism: Cultural Identity and Modern History. Santa Barbara: ABC Clio. *specifically chapter 1 Music and Nationalism: Why Do We Love to Hate Them? pp. 1-34. Bohlman, Philip V. 2004. The Music of European Nationalism: Cultural Identity and Modern History. Santa Barbara: ABC Clio. *specifically chapter 2 The European Nation-State in History pp. 35-80; chapter 3 National Music pp.81-116]

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Burns, Robert G. H. (2008) German symbolism in rock music: national signification in the imagery and songs of Rammstein In. Popular Music. Vol. 27, No. 3, pp.457-472 Higson, Andrew. 2002. Nationality: National Identity and the Media in The Media: An Introduction. Eds. Adam Biggs and Paul Cobley. Harlow: Pearson/Longman, 401-15. Hill, Sarah. 2007. Blerwytirhwng? The Place of Welsh Pop Music. Aldershot: Ashgate. McLaughlin, Noel and McLoone, Martin (2000) Hybridity and national musics: the case of Irish rock music In. Popular Music. Vol. 19, No.2, pp.181-199 Rutten, Paul (1999) Global Sounds, local brews Soundscapes Vol. 2 http://www.icce.rug.nl/~soundscapes/ Rutten, Paul (1991) Local popular music on national and international markets in Cultural Studies Vol. 5 Eurovision Biddle, Ian and Vanessa Knights (Eds.) 2007. Music, National Identity and the Politics of Location: Between the Global and the Local. Aldershot: Ashgate. Bohlman, Philip V. 2004. The Music of European Nationalism: Cultural Identity and Modern History. Santa Barbara: ABC Clio. *specifically chapter 1 Music and Nationalism: Why Do We Love to Hate Them? pp. 1-34. Burns, Robert G. H. (2008) German symbolism in rock music: national signification in the imagery and songs of Rammstein In. Popular Music. Vol. 27, No. 3, pp.457-472 McLaughlin, Noel and McLoone, Martin (2000) Hybridity and national musics: the case of Irish rock music In. Popular Music. Vol. 19, No.2, pp.181-199 Rutten, Paul (1999) Global Sounds, local brews Soundscapes Vol. 2 http://www.icce.rug.nl/~soundscapes/ Rutten, Paul (1991) Local popular music on national and international markets in Cultural Studies Vol. 5 Schacht, A (2008) An Intriguing Mix of Songs this Year? http://www.eurovision.tv/page/news?id=664 Spierdijk, L (2006) Geography, Culture, Religion: Explaining the Bias in the Eurovision Song Contest Voting. http://www.scribd.com/doc/53163/Geography-Culture-and-ReligionExplaining-the-Bias-in-Eurovision-Song-Contest-Voting Ethnicity and authenticity Bakan, Michael B. 2007. Musical Conversations: Communication and Collective Expression in West African Musics in World Music: Traditions and Transformations. Boston: McGraw, 185-215. Hatch, David and Stephen Millward. 2000. On Black Music and Authenticity in Music, Culture and Society: A Reader. Ed. Derek B. Scott. Oxford: Oxford University Press, 88-91. Meyer, B. and P. Geschiere (eds.) 1999. Globalization and Identity: Dialectics of Flow and Closure. Oxford: Blackwell. OFlynn, John. 2007. National Identity and Music in Transition: Issues of Authenticity in a Global Setting in Music, National Identity and the Politics of Location: Between the Global and the Local. Eds. Ian Biddle and Vanessa Knights. Aldershot: Ashgate, 19-38. Taylor, Timothy. 1997. Strategic Inauthenticity in Global Pop: World Music, World Markets. New York: Routledge, 125-45. ____ . 2004. Strategic Inauthenticity in The Globalization Reader. Oxford: Blackwell, 149-53. Whiteley, Sheila, Andy Bennett and Stan Hawkins (Eds.) 2004. Music, Space and Place: Popular Music and Cultural Identity. Aldershot: Ashgate. Music and black identity

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Bennett, Andy. 1999. Hip Hop am Main: The Localisation of Rap Music and Hip Hop Culture. Media Culture and Society 21. Bennett, Andy. 2001. Rap Music and Hip Hop Culture in Cultures of Popular Music. Buckingham: Open University Press, 88-103. Brah, A. 1996. Diaspora, Border and Transnational Identities in Cartographies of Diaspora: Contesting Identities. London: Routledge, 178-210. Demers, Joanna (2003) Sampling the 1970s in hip-hop In Popular Music. Vol. 22, No.1, pp.41-56 Dines, Gail and Jean M. Humez. 1995. Music Videos and Rap Music: Cultural Conflict and Control in the Age of the Image in Gender, Race and Class in Media: A Text-Reader. Eds. Gail Dines and Jean M. Humez. London: Sage, 479-87. Forman, Murray. 2002. The Hood comes first: Race, Space and Place in Rap and Hip-Hop. Wesleyan University Press. Forman, Murray and Mark Anthony Neal. 2004. Thats the Joint! The Hip Hop Studies Reader. Routledge. Gaunt, Kyra D. 1995. African American Women Between Hopscotch and Hip-Hop: Must Be the Music (Thats Turnin Me On), in Feminism, Multiculturalism, and the Media: Global Diversities. Ed. Angharad N. Valdivia. London: Sage, 277-308. George, Nelson. 1999. Hip Hop America. New York: Penguin. Gilroy, P. 1987. There Aint No Black in the Union Jack: The Cultural Politics of Race and Nation. London: Routledge. Grosfoguel, R. 2004. Race and Ethnicity or Racialised Ethnicities? Identities within Global Coloniality. Ethnicities 4, 315-36. Hill Collins, Patricia. 2006. From Black Power to Hip Hip: Racism, Nationalism and Feminism. Temple University Press. Huq, Rupa. 2006. Selling, Selling Out or Resisting Dominant Discourses? Rap and the Uses of Hip-Hop Culture in Beyond Subculture: Pop, Youth and Identity in a Postcolonial World. London: Routledge, 110-34. Hyder, R. 2004. Brimful of Asia: Negotiating Ethnicity on the UK Music Scene. Aldershot: Ashgate. Jones, S. 1988. Black Culture, White Youth. London: Macmillan. Krims, Adam. 2000. Rap Music and the Poetics of Identity. Cambridge: Cambridge University Press. Longhurst, Brian. 1995. Black Music in Popular Music & Society. Cambridge: Polity Press, 127-57. McLeod, Kembrew (1999) Authenticity Within Hip-Hop and Other Cultures Threatened with Assimilation in Journal of Communication. Vol. 49, No. 4, pp.134-150 Middleton, R. and R. Beebe. 2002. The Racial Politics of Hybridity and Neo-Eclecticism in Contemporary Popular Music in Popular Music 21. Neal, Mark. 1999. What the Music Said: Black Popular Music and Black Public Culture. London: Routledge. Oliver, Paul (ed) 1990. Black Music in Britain: Essays on the Afro-Asian Contribution to Popular Music. Milton Keynes: Open University Press. Perkins, Eric William. 1996. Droppin Science: Critical Essays on Rap Music and Hip Hop Culture. Philadelphia: Temple University Press. Perry, Imani. 2003. Who(se) Am I? The Identity and Image of Women in Hip Hop, in Gender, Race, and Class in the Media: A Text-Reader. Eds. Gail Dines and Jean M. Humez. London: Sage, 136-48. Ramsey, Guthrie P. 2003. Scoring a Black Nation: Music, Film and Identity in the Age of HipHop in Race Music: Black Cultures from Bebop to Hip Hop. Berkeley: University of California Press, 163-89.

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Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown: Wesleyan University Press. _____ . 2003. Hidden Politics: Discursive and Institutional Policing of Rap Music in Gender, Race and Class in Media: A Text-Reader. Eds. Gail Dines and Jean M. Humes. London: Sage, 396-405. Stokes, Martin (ed) 1994. Introduction: Ethnicity, Identity and Music In Ethnicity, Identity and Music: the Musical Construction of Place Oxford: Berg Stratton, Jon. 2008. The Beastie Boys: Jews in whiteface In. Popular Music Vol. 27, No. 3, pp.413-432 Werner, Craig. 1998. A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Payback Press. Whiteley, Sheila. 2004. Rap and Hip Hop: Community and Cultural Identity in Music, Space and Place: Popular Music and Cultural Identity. Eds. Sheila Whiteley, Andy Bennett and Stan Hawkins. Aldershot: Ashgate, 8-16. Music, orientalism and exoticism Bellman, J. 1998. The Exotic in Western Music. UPNE Publishing. Dines, Gail. 2003. King Kong and The White Woman: Hustler Magazine and the Demonization of Black Masculinity in Gender, Race, and Class in Media: A TextReader. Eds. Gail Dines and Jean M. Humez. London: Sage, 451-61. Locke, Ralph P. 2000. On Music and Orientalism in Music, Culture and Society: A Reader. Ed. Derek B. Scott. Oxford: Oxford University Press, 103-9. Said, Edward (1993) Orientalism. London: Penguin. Sturken, Marita and Lisa Cartwright. 2001. Spectatorship, Power, and Knowledge in Practices of Looking: An Introduction to Visual Culture. Oxford: Oxford University Press, 72-108. Music, whiteness and racism Appiah, Kwame Anthony. 2005. Racisms in Internationalizing Cultural Studies: An Anthology. Eds. Ackbar Abbas and John Nguyet Erni. Malden: Blackwell, 390-96. Ballantine, C. 2004. Rethinking Whiteness? Identity, Change and White Popular Music in Post-Apartheid Africa. Cambridge University Press. Barber-Kersovan, Alenka (2002). German Nazi Bands, Censorship and (State) Repression in Policing Pop, eds. Martin Cloonan and Reebee Garofalo. Philadelphia: Temple University Press. Bonnett, A. 2000. Who was White? The Disappearance of non-European White Identities and the Formation of European Racial Whiteness in White Identities: Historical and International Perspectives. Prentice Hall: Harlow, 7-27. Brown, T. 2004. Subcultures, Pop Music & Politics: Skinheads and Nazi Rock in England and Germany. Journal of Social History 38(1): 157-78. [available at http://www.history.neu.edu/faculty/timothy_brown/1/documents/Subcultures_Po p_Music_and_Politics.pdf] Burns, Robert G. H. 2008. German Symbolism in Rock Music: National Signification in the Imagery and Songs of Rammstein in Popular Music 27, 3: 457-72. Clarke, John (1976). The Skinheads and the Magical Recovery of Community in Resistance Through Rituals: Youth Subcultures in Post-War Britain, eds. Stuart Hall and Tony Jefferson. London: Hutchinson, 99-102. Cotter, J. M. (1999). Sounds of Hate: White Power Rock and Roll and the Neo -Nazi Skinhead Sub-Culture in Terrorism and Political Violence 11 (2), 111-40. Deicke, Wolfgang (2007). Resistance and Commercialisation in Distasteful Movements: Right-Wing Politics and Youth Culture in East Germany in Youth Cultures: Scenes,

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Subcultures and Tribes. Eds. Paul Hodkinson and Wolfgang Deicke. London: Routledge, 93-110. Diner, R. 2006. The Other White Meat: Princess Superstar, Irony, Sexuality and Whiteness in Hip Hop. University of Toronto Press. Downing, John and Charles Husband. 2005. Racism and the Media of the Extremist Right in Representing Race: Rasicms, Ethnicities and Media. London: Sage, 60-85. Dyer, R. 1997. White. London: Routledge. Fraley, T. 2009. I got a Natural Skill: Hip Hop, Authenticity, and Whiteness. Routledge. Hall, Stuart. 1996. Racist Ideologies and the Media in Media Studies: A Reader. Eds. Paul Marris and Sue Thornham. Edinburgh: Edinburgh University Press, 271-82. _____ . 2003. The Whites of their Eyes: Racist Ideologies and the Media in Gender, Race, and Class in Media: A Text-Reader. Eds. Gail Dines and Jean M. Humez. London: Sage, 89-93. Hill, Mike (ed) 1997. Whiteness: A Critical Reader. New York: New York University Press. Hemming, Jan (2009). The Case of New Fascist Rock Music in Germany: An Attempt to Distinguish Scalar and Vectorial Sign Components in Practising Popular Music: Proceedings of the 12th Biannial IASPM International Conference, Montreal 2003. Available at http://info.comm.uic.edu/lyniv/IASPM03.pdf. [11/03/1009] Huq, Rupa. 2006. White Noise: Identity and Nation in Grunge, Britpop and Beyond in Beyond Subculture: Pop, Youth and Identity in a Postcolonial World. London: Routledge, 135-55. Hill, M. (ed.) Whiteness: A Critical Reader. New York: New York University Press. Johnson, Bruce & Cloonan, Martin (2008): Dark side of the tune : popular music and violence. Aldershot: Ashgate Lazzaro, Claudio (2008) Nazirock (film) plus accompanying booklet. Milan: Feltrinelli. Larkey, Edward. 2000. Just for Fun? Language Choice in German Popular Music in Popular Music and Society 24, 3:1-21. Nayak, A. 1999. Pale Warriors: Skinhead Culture and the Embodiment of White Masculinities in Thinking Identities: Ethnicity, Racism and Culture. Eds. A. Brah, M. Hickman and M. Mac an Ghaill. London: Macmillan, 71-99. Neederveen Pieterse, Jan. 2003. White Negroes in Gender, Race, and Class in Media: A Text-Reader. London: Sage, 111-5. Nordstrom, Carolyn and Antonius C. G. M. Robben (eds.). Fieldwork Under Fire: Contemporary Studies of Violence and Culture. University of California Press. Rodman, G. 2009. Race and Other Four-Letter Words: Eminem and the Cultural Politics of Authenticity. Routledge. Ross, A. 2005. Ghost Sonata Theodor Adorno, the Dark Prince of German Music in The New Yorker 24. March 2005. Schweizer, Daniel (2003): Skinhead Attitude [TV documentation 90 min.]. Schweiz, Frankreich. [available in English language on Youtube] Searchlight (1998). White Noise: Inside the International Nazi Skinhead Scene. Searchlight. Solomos, J. 2003. Race and Racism in Britain. London: Macmillan. Wald, Gayle. 1997. One of the Boys? Whiteness, Gender, and Popular Music Studies in Whiteness: A Critical Reader. Ed. Mike Hill. New York: New York University Press, 151-67. Wald, G. 1997. One of the Boys? Whiteness, Gender, and Popular Music Studies. New York University Press. Ward, James J. '"This is Germany! It's 1933!" Appropriations and Constructions of "Fascism" in New York Punk / Hardcore in the 1980s', Journal of Popular Culture. Journal of Popular Culture, 30/3 (Winter 1996), 155-184. Ware, V. 1992. Beyond the Pale: White Women, Racism and History. London: Verso.

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West,

Cornel. TOWARD A SOCIALIST THEORY OF RACISM by Cornel West. http://race.eserver.org/toward-a-theory-of-racism.html Wilkins, Amy. 2008. Wannabes, Goths and Christians: The Boundaries of Sex, Style and Status. In Gendered Limits of Racial Crossover. University of Chicago Press. Zehr, Melissa (2005): Exploring the relationship between music preference and aggression. Ball State University, Muncie, Indiana, USA. ADDITIONAL RESOURCES Books on race/ethnicity in the media Bird, S. Elizabeth, ed. Dressing in Feathers: The Construction of the Indian in American Popular Culture. Boulder, CO: Westview Press, 1996. Essays range over two centuries and many forms, from wild west shows to Disneys Pocahontas. Bogle, Donald. Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films. New York: Viking Press, 1973. Classic study (updated in 1998 edition) of African American stereotypes, from the silent film era to late 20th century. Churchill, Ward. Fantasies of the Master Race: Literature, Cinema and the Colonization of American Indians. Monroe, ME: Common Courage Press, 1992. Blunt, often incisive, critique of issues ranging from genocidal Westerns to sports mascots to New Age wannabe Indians. Diawara, Manthia, ed. Black American Cinema. New York: Routledge, 1993. Excellent collection of essays on aesthetics, history, and reception of African American film. Fregoso, Rose Linda. The Bronze Screen: Chicana and Chicano Film Culture. Minneapolis: University of Minnesota Press, 1993. The best study yet of Chicanas as subjects in and creators of film. Gaspar de Alba, Alicia. Chicano Art Inside/Outside the Masters House: Cultural Politics and the CARA Exhibition. Austin: University of Texas Press, 1998. Brilliant interpretation of a major Chicano art retrospective that raises key questions about the construction of high art vs. popular art among marginalized ethno-racialized groups. Gray, Herman. Watching Race: Television and the Struggle for Blackness. Minneapolis: University of Minnesota Press, 1995. Brilliant interpretation of the evolution of representations of African Americans in television news and fiction programming, from the 1980s to the present. Guerrero, Ed. Framing Blackness: The African American Image in Film. Philadelphia: Temple University Press, 1993. Among the very best general works on African Americans and film. Hamamoto, Darrell Y. Monitored Peril: Asian Americans and the Politics of TV Representation. Minneapolis: University of Minnesota Press, 1994. Wide-ranging study that includes issues of internment, and the war in Southeast Asia, in addition to ongoing, everyday stereotypes of TV orientalism. Jhally, Sut. The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society. New York: St. Martin's Press, 1987. Strong study of how advertising texts shape racial, gender, and class beliefs and create a consumer consciousness. Jhally, Sut and Justin Lewis. Enlightened Racism: The Cosby Show, Audiences, and the Myth of the American Dream. Boulder: Westview Press, 1992. Combines audience surveys and textual analysis to look at how confusions of race and class in the US

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are reflected in and reinforced by Cosbys mid-80s show. Lee, Robert G. Orientals: Asian Americans in Popular Culture. Philadelphia: Temple University Press, 1999. The most comprehensive study to date on Asian Americans in pop culture, covering two centuries and many different cultural forms. Lipsitz, George. Time Passages: Collective Memory and American Popular Culture. Minneapolis: University of Minnesota Press, 1990. Innovative study of relations between mass-produced pop culture and the realities of communal memory dimly present in those commodified productions. . Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. London; New York: Verso, 1994. Incisive study of various musical ethnic subcultures and their complex negotiations with the dominant culture and their co-resisters in a global/local struggle over meaning. Lutz, Catherine and Jane L. Collins. Reading National Geographic. Chicago: University of Chicago Press, 1993. Two visual anthropologists study the racial, gender, and international politics of this influential journal. McNair, Brian. Mediated Sex: Pornography and Postmodern Culture. UK: Arnold Publishers, 1996. Sociology-based analysis weighing various arguments about the production and consumption of pornography; focused primarily on the US and Britain. Pratt, Ray. Rhythm and Resistance: The Political Uses of Popular Music. Washington, DC: Smithsonian Books, 1994. Examines the political impact of spirituals, gospel, the blues, and rock n roll in American culture. Reid, Mark. Redefining Black Film. Berkeley: University of California Press, 1993. Important history of the black independent film industry that has long sought to counter and complicate mainstream Hollywood representations of African Americans. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Published by University Press of New England for Wesleyan University Press, 1994. Arguably the best book yet on rap, this study analyses both the political economic cultural roots of rap, and its textual meanings. Ross, Andrew, Tricia Rose, and Andrew Rose, eds. Microphone Fiends: Youth Music and Youth Culture. New York: Routledge, 1994. Excellent collection of essays on rock, rap, heavy metal, dance scenes, and the youth cultures that surround them. Tomlinson, John. Cultural Imperialism: A Critical Introduction. Baltimore, MD: Johns Hopkins University Press, 1991. A fine, brief survey of issues surrounding the ways in which US pop culture may or may not be overwhelming other world cultures.

Online resources:

Art Crimes. A visually rich graffiti art site. Asian American Filmography. Black Cultural Studies Web Site. Compiled by Tim Haslett, Nimmy Abiaka, and Paula Lee. Includes information about Manthia Diawara and Arthur Jafa. Black Film Center. Gender, Race and Ethnicity in Media. Several web pages compiled by Karla Tonella,

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University of Iowa. Hispanic Experience Filmography. The Movies, Race and Ethnicity. Excellent general resource from the University of California, Berkeley library, with sections on different ethnic/racial groups, bibliographies and links to online articles. Race and Ethnicity. A collection of works (articles, fiction, non-fiction, links, etc.) pertaining to issues of race and ethnicity.

ONLINE ARTICLES

Black Masculinity and Visual Culture. An article by Herman Gray that discusses jazz men, rappers, the Cosby Show and Clarence Thomas. Cleopatra Jones: 007: Blaxploitation, James Bond and Reciprocal Co-optation. An article by Chris Norton exploring race and gender politics in the spy genre. Do Violent Films Shape or Reflect? An article from Christian Science Monitor on role of popular films in depicting Arabs to American audiences. Fear of the White Unconscious: Music, Race, and Identification in the Censorship of "Cop Killer." An excellent study of the issues of violence vis-a-vis rap by Barry Shank. Media Blackface: Racial Profiling in News Reporting. An article by Mikal Muharrar, for EXTRA! Morphing Out of Identity Politics: Black or White and Terminator 2. An article by Ron Alcalay. The Portrayal of Race, Ethnicity and Nationality in Televised International Athletic Events. A very interesting study by Don Sabo, et al. of American TV coverage of international games. Race Matters, Media Matters. An essay by Chon Noriega on the importance of understanding race in visual culture in contemporary US. Rap, Black Rage, and Racial Difference. An article by Steven Best and Doug Kellner. The Representation of the Black Male in Film. A critique by Christopher Miller of the cinema industrys exclusion and stereotyping of black males: there arent enough good role models for black youths in films. Savages, Swine, and Buffoons: Hollywoods Selective Stereotypical Representations of Japanese, Germans, and Italians in Films Produced during World War II. An article by Ralph Donald.

FURTHER REFERENCE Gender, Ethnicity and Class in Mass Media. from the Media and Communication Studies site. Note: Access the online version of the module handbook in Blackboard in order to get the URLs for these online resources. BIBLIOGRAPHY PART II Books Allen, Robert C. Speaking of Soap Operas. Chapel Hill: University of North Carolina Press, 1985. Baehr, Helen and Ann Grey (eds) (1996). Turning It On: A Reader in Women and Media. NY: Arnold. Bannister, Matthew. 2006. White boys, white noise: masculinities and 1980s indie guitar rock. Ashgate: Aldershot.

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Bennett, A., Shank, B. and Toynbee, J. eds. (2006). The popular music studies reader. London: Routledge Bonner, Frances et al (eds) (1995). Imagining Women: Cultural Representations and Gender. Cambridge: Polity. Bordo, Susan. The Male Body: A New Look at Men in Public and in Private New York: Farrar, Straus and Giroux, 1999. Boretz, Benjamin (1999) Music, consciousness, gender, eds. Elaine Barkin and Lydia R. Hamessley Audible traces: gender, identity, and music. Carciofoli,: Zrich Los Angeles. Brett, Philip, Elizabeth Wood and Gary C. Thomas eds. (1994). Queering the pitch: the new gay and lesbian musicology.Routledge New York. Brundson, Carlotte et al (1997). Feminist Television Criticism: A Reader. Oxford: Clarendon. Burston, Paul and Colin Richardson, eds. A Queer Romance: Lesbians, Gay Men and Popular Culture. New York: Routledge, 1995. Carter, Cynthia and Linda Steiner (2004). Critical Readings: Media and Gender. Maidenhead: Open University Press. Clover, Carrol J. Men, Women and Chain Saws: Gender in the Modern Horror Film. Princeton, NJ: Princeton University Press, 1992. Cook, Nicholas (1994). Music and Meaning in the Commercials in Popular Music 13(1), pp.27-40. Cook, Susan C. and Judy S. Tsou, eds. 1994. Cecilia reclaimed: feminist perspectives on gender and music. Urbana: University of Illinois Press. Creekmur, Corey K, and Alexander Doty, eds. Out in Culture: Gay, Lesbian and Queer Essays on Popular Culture. Durham: Duke University Press, 1995. De La Cruz, Pennie Azarcon (2004). Women in the News: A Guide for Media. Dines, Gail and Jean M. Humez, eds. 2002. Gender, race, and class in media: a text-reader. London: Sage. Douglas, S. (1996). Where the Girl s Are: Growing Up Female with the Mass Media. Times Books. Doty, Alexander. Making Things Perfectly Queer: Interpreting Mass Culture. Minneapolis: University of Minnesota Press, 1993. Fregoso, Rose Linda. The Bronze Screen: Chicana and Chicano Film Culture. Minneapolis: University of Minnesota Press, 1993. Frith, Simon, Andrew Goodwin and Lawrence Grossberg eds. (1993). Sound and Vision: The Music Video Reader. London: Routledge. Fuller, S. and Whitesell, L. eds. 2002. Queer episodes in music and modern identity. University of Illinois Press: Urbana Gamson, Joshua. Freaks Talk Back: Tabloid Talk Shows and Sexual Nonconformity. Chicago: University of Chicago Press, 1998. Gaspar de Alba, Alicia. Chicano Art Inside/Outside the Masters House: Cultural Politics and the CARA Exhibition. Austin: University of Texas Press, 1998. Gauntlett, David (2002). Media, gender, and identity: an introduction. Routledge: London. Gerhart, M. (1992). Genre Choices, Gender Questions. University of Oklahoma Press. Gill, Rosalind and Elena Herdieckersdorff (2006). Rewriting the Romance: New Femininities in Chick Lit?, in Feminist Media Studies 6 (4), 487-504. Goodwin, Andrew (1992). Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis: University of Minneapolis Press. Halberstam, Judith (1998). Female Masculinity. Durham: Duke University Press. Holmlund, Chris and Cynthia Fuchs (eds) (1997). Between the Sheets, in the Streets: Queer, Lesbian, Gay Documentary. Minnesota: University of Minnesota Press. Holtzman, L. 2000. Media messages: what film, television, and popular music teach us about race, class, gender and sexual orientation. M.E. Sharpe: Armonk NY

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Jhally, Sut. The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society. New York: St. Martin's Press, 1987. Kaplan, E. Ann. Rocking Around the Clock: Music Television, Postmodernism and Consumer Culture. New York: Methuen, 1987. Keating, Patrick (2006). From the Portrait to the Close-Up: Gender and Technology in Still Photography and Hollywood Cinematography, in Cinema Journal 45 (3). Kruse, Holly (1999). Gender in Key Terms in Popular Music and Culture. Eds. Bruce Horner and Thomas Swiss. Oxford: Blackwell, 85-100. Kuntsman, Adi and Esperanza Miyake (2008). Out of Place: Interrogating Silences in Queerness/Raciality. York: Raw Nerve Book. Langford, Barry (2005). Film Genre: Hollywood and Beyond, Edinburgh: Edinburgh University Press. Larbalestier, Justine (ed) (2006). Daughters of Earth: Feminist Science Fiction in the Twentieth Century. Middletown: Wesleyan Press. Lewis, Lisa (1990). Gender Politics and MTV: Voicing the Difference. Philadelphia: Temple University Press. Lewis, Lisa ed. (1992). The Adoring Audience: Fan Culture and Popular Media. London: Routledge. Lipsitz, George. Time Passages: Collective Memory and American Popular Culture. Minneapolis: University of Minnesota Press, 1990. Lutz, Catherine and Jane L. Collins. Reading National Geographic. Chicago: University of Chicago Press, 1993. Marlane, Judith (1999). Women in Television News Revisited. University of Texas Press. McClary, Susan. 1991. Feminine endings: music, gender, and sexuality. Minneapolis: University of Minnesota Press. McDowell, L. (1999). Gender, Identity and Place. Cambridge: Polity. Mundy, John (1999). Popular Music on Screen: From the Hollywood Musical to Music Video. Manchester: Manchester University Press. Munt, Sally R. (ed) (1998). Butch Femme: Theorising Lesbian Genders. London: Continuum. Negus, Keith (1996). Audiences in Popular Music in Theory: An Introduction. Cambridge: Polity Press, pp.7-35. ALSO Mediations, pp. 66-98. OBrien, Lucy (2002). She Bop II: The Definite History of Women in Rock, Pop and Soul. London: Continuum. Peiss, Kathy. Cheap Amusements: Working Women and Leisure in Turn-of-the-Century New York. Philadelphia, PN: Temple University Press, 1986. Pearce, Lynn and Jackie Stacey (1995). Romance Revisited. Lawrence and Wishart Radway, Janice (1991). Reading the Romance: Women, Patriarchy and Popular Culture. Chapel Hill: University of North Carolina. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Published by University Press of New England for Wesleyan University Press, 1994. Ross, Andrew, Tricia Rose, and Andrew Rose, eds. Microphone Fiends: Youth Music and Youth Culture. New York: Routledge, 1994. Russo, Vito. The Celluloid Closet: Homosexuality in the Movies. New York: Harper and Row, 1981. Shuker, Roy (2001). U Got the Look: Film and television, music video and MTV in Understanding Popular Music. London: Routledge, pp.175-93. Sobchack, Vivian (1987). Screening Space: The American Science Fiction Film. London: Rutgers University Press. Thornton, Sarah (1997). The Subcultures Reader. London: Routledge. Walser, R. 1993. Running with the devil :power, gender, and madness in heavy metal music.

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Hanover (N.H.): Wesleyan University Press/University Press of New England Walters, Suzanna Danuta. All the Rage: The Story of Gay Visibility in America. Chicago: University of Chicago Press, 2001. Wilchins, Riki Anne, Clare Howell and Joan Nestle (eds) (2002). GenderQueer: Voices from Beyond the Sexual Binary. Alyson Publications. Williamson, Judith. Decoding Advertisements: Ideology and Meaning in Advertising. London: Boyars, 1978. Winship, Janice (1988). Inside Womens Magazines. London: Pandora. Whannel, Garry (2001). Media Sports Stars: Masculinities and Moralities. London: Routledge. Whiteley, Sheila, ed. 1997. Sexing the groove: popular music and gender. Routledge: London. ______ . 2000. Women and popular music: sexuality, identity and subjectivity. Routledge: London. ______ . 2003. Too much too young: popular music, age, and gender. Routledge: London. Whiteley, Sheila and Jennifer Rycenga, eds. 2006. Queering the popular pitch. Routledge: New York NY; London. Online resources: Gender GENERAL SITES

Gender Online. Special issue of electronic journal Computer-Mediated Communication. Feminist Film Reviews. Gender, Ethnicity and Race in Media. Several web pages compiled by Karla Tonella, University of Iowa. Women in Film. Excellent reference guide by Philip McEldowney.

ONLINE ARTICLES

Babes on the Web: Sex, Identity and the Homepage. Looks at the relationship between the (re)presented and the physical selves. Is Any Body Out There? Gender, Subjectivity and Identity in Cyberspace. An article by Steve Spittle from the University of Central England. Feminism for the Incurably Informed. An article by Anne Balsamo on the gender of cyberspace. This is actually a summary of Anne Balsamo's book, with this article as chapter 6. From Girl to Woman to Grrrl: (Sub)Cultural Intervention and Political Activism in the Time of Post-Feminism. An article by Lisa Soccio on young, third wave feminist subcultural politics of alternative pop culture. Cleopatra Jones: 007: Blaxploitation, James Bond and Reciprocal Co-optation. An article by Chris Norton exploring race and gender politics in the spy genre. Feminist Film Criticism: The Piano and the Female Gaze. An article by Diane Sacco revising the theory of the male gaze developed by Laura Mulvey. Fight Clubs Utopian Dick. An article by Jonathan Beller exploring the sexual politics of the film Fight Club. Girls in Trouble, Again: Girl Interrupted. A review tracing the conservative gender politics of this Winona Rider/Angela Jolie film. Lara Croft and Feminism. Its Like Painting Toys Blue and Pink: Marketing and the Female-Directed Hollywood Film Marketing Masculinity in Universal Soldier. Objects, Decision Considerations and Self-Image in Mens and Womens Impulse

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Purchases. Survey data revealing gender differences in impulse-buying by Helga Dittmar, Jane Beattie and Susanne Friese. Turning the Gaze Around and Orlando. An article by Nuria Enciso (Mediatribe)

FURTHER REFERENCE Gender, Ethnicity and Class in Mass Media. from the Media and Communication Studies site. Online resources: Sexuality GENERAL SITES

The Gay and Lesbian Alliance Against Defamations (GLAAD). GLAAD's site contains much on popular cultural representations of minoritized sexualities, including a Laura Watch and other sites. Gay and Lesbian Film Reviews.

ONLINE ARTICLES

Advertisers Strategies to Target Gay Audiences in Attitude and Gay Times. An article by Rebecca Phillips. Coming Apart at the Seams: Sex, Text and the Virtual Body. An article by Shannon McRae. The Erotic Ontology of Cyberspace. An article by Michael Heim. Examples of ads using sex to sell. A site by Richard Taflinger, Washington State University. Gay/Lesbian/Bisexual TV Characters. A comprehensive list of characters and episodes in which they appear, by David Wyatt. Holy Homosexuality Batman!: Camp and Corporate Capitalism in Batman Forever. An article by Freya Johnson. Queer Horror: Decoding Universals Monster. An article by Gary Morris offering a queer theoretical reading of classic horror films of the 1930s. Queer Ripley. An article by J. Serpico analyzing the sexual politics of The Talented Mr. Ripley. The Sissy Gaze in American Cinema. An article by Ray Davis on the use of effeminate characters as plot foils in early Hollywood films. Staging the Slut: Hyper-Sexuality in Performance. An article by Kim Nicolini. Will the Real Body Please Stand Up? An article by Allucquere Rosanne Stone on the complexities of embodied identity in cyberspace. Bisexuality And How To Use It: Toward a Coalitional Identity Politics. Examines representations of bisexuality (as different from both heterosexuality and homosexuality) throughout media and among activists themselves.

Note: Access the online version of the module handbook in Blackboard in order to get the URLs for these online resources. FEEDBACK ON LAST YEARS MODULE EVALUATION WE HEAR YOU In order to provide the best possible student experience, we need you to tell us what were doing well and how we can improve. Student opinion is the biggest catalyst for change at the University.your views really matter.

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MODULE EVALUATION is undertaken on every module across the University at least once every 2 years. Your responses are confidential and the results are analysed by the University and feed into module and programme plans. Your course rep will see and discuss the results with your lecturers at Board of Study meetings. This is a new module, amalgamating last years modules Race, Ethnicity and Music and Gender, Sexuality and Music. Below is last years feedback for these modules, which highlighted that the students highly rated the following aspects of this module: Race, Ethnicity & Music. Questions Mean rating 4.25

Q1. Clear information was provided about the content of the module (eg in the module handbook, on Blackboard) Q2. Teaching materials (eg handouts and resources on Blackboard) are useful Q3. Academic staff are generally supportive Q4. The ways in which I would be assessed on the module were made clear Q5. I have received useful feedback on my work (only answer if you have had work returned) Q6. The module was intellectually stimulating Q7. The module was well organised Q8. I have had sufficient contact with staff during this module

4.50 4.75 4.25 N/A

4.00 3.25 4.50

Gender, Sexuality & Music. Questions

Mean rating 4.50

Q1. Clear information was provided about the content of the module (eg in the module handbook, on Blackboard) Q2. Teaching materials (eg handouts and resources on Blackboard) are useful Q3. Academic staff are generally supportive Q4. The ways in which I would be assessed on the module were made clear Q5. I have received useful feedback on my work (only answer if you have had work returned) Q6. The module was intellectually stimulating Q7. The module was well organised Q8. I have had sufficient contact with staff during this module

5.00 5.00 4.75 N/A

4.50 4.50 5.00

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Unfortunately, no other comments were made on how we could improve in this module. Nonetheless, the module has been improved as follows: INSERT AREAS FOR ACTION HERE Review of module handbook ACTION TAKEN HERE Handbook reviewed and improved, with clear scheme of work and details of L&T, weekly outline, assessment, bibliographies, further resources, tutor details, etc. Materials also include sample work Student receive designated feedback at specified times + four opportunities for PDP sessions with their designated PDP tutor Clear guidelines included in handbook, combined with clear timelines for formative and summative feedback A range of feedback (formative and summative) will be given at specified times and in regular intervals; this is specified in the module handbook

Review of handouts Enhanced student support

Review of assessment

Improve on feedback

Please continue to give your feedback to the University, both formally and informally and the University will continue to update you regarding progress and celebrating our successes. Thank you!

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