{"id":44009,"date":"2025-06-16T15:11:56","date_gmt":"2025-06-16T15:11:56","guid":{"rendered":"https:\/\/www.writemyessays.app\/blog\/questions\/final-paper-music-technologies-and-cultural-authenticity-course-music-culture-and-technology-class\/"},"modified":"2025-06-16T15:11:56","modified_gmt":"2025-06-16T15:11:56","slug":"final-paper-music-technologies-and-cultural-authenticity-course-music-culture-and-technology-class","status":"publish","type":"questions","link":"https:\/\/www.writemyessays.app\/blog\/questions\/final-paper-music-technologies-and-cultural-authenticity-course-music-culture-and-technology-class\/","title":{"rendered":"Final paper: Music technologies and cultural authenticity Course: Music, culture, and technology class"},"content":{"rendered":"

Final paper: Music technologies and cultural authenticity<\/strong><\/p>\n

Course<\/strong>: Music, culture, and technology class<\/p>\n

Deadline for submission<\/strong>: June 16<\/strong>, 2025, by 23.55. Upload to moodle<\/strong><\/a>, Topic 12 (don\u2019t send to email)!<\/p>\n

Format<\/strong>: 7-9 pages, double space, font 12, word doc<\/strong> format (not pdf, not open doc, or other); plus proper bibliography (not included in page count).<\/p>\n

Articles <\/strong>(13 + 1 video,<\/strong> discuss at least 7-8<\/strong>): Kenney<\/strong> (gender\/phonograph), Kerney <\/strong>(gender\/guitars), and Marsh\/West<\/strong> (gender\/Bjork\/Madonna); Frith <\/strong>(authenticity), Auslander <\/strong>(liveness), Gilbert <\/strong>and Pearson <\/strong>(EDM), Brown <\/strong>(global pop\/race), Weheliye<\/strong> (race), Taylor <\/strong>(authenticity), Taylor <\/strong>(technostalgia), Hogarty<\/strong> (retro), McLeod <\/strong>(copyrights), Gunkel<\/strong> (remix) + Video<\/strong>: Everything is a remix<\/em><\/strong> (https:\/\/www.youtube.com\/watch?v=nJPERZDfyWc<\/a>).<\/p>\n

Main question<\/strong> for the essay. Discuss and problematize (critically) the notion of authenticity <\/strong>and music technology<\/strong>, as related to the following topics<\/strong> (there are 7 topics, but you should only discuss 5 in depth<\/strong>; necessary to discuss all the texts\/videos in bold<\/strong>):<\/p>\n

1 Establish main theoretical framework on authenticity<\/strong> (define, problematize the concept, synthesize theories): <\/strong>refer to Frith, <\/strong>and Tim Taylor\u2019s<\/strong> definitions and types of authenticity (necessary to discuss the issue of construction<\/strong> of authenticity, and the importance of perspectives<\/strong>, in other words, provide a critique<\/strong> of the notion of \u2018authenticity,\u2019 and problems and contradictions related to it). In addition, you have to discuss these theoretical considerations in relation to music technologies<\/strong> (refer to them in each point you are making)! You can also refer to other authors from the reading list for this task.<\/p>\n

2 Instruments<\/strong>\/technologies <\/strong>perceived as authentic\/inauthentic (folk\/rock\/EDM\/pop, acoustic\/electric\/electronic, analog\/digital, low\/high, old\/new, production\/reproduction, etc); always write from which cultural perspective; within and\/or between genres) (Frith<\/strong>, Gilbert and Pearson<\/strong>, Taylor\/technostalgia, Hogarty\/retro<\/strong>)<\/p>\n

3 Live<\/strong> vs mediated<\/strong> as forms of authenticity (Auslander, Frith<\/strong>)<\/p>\n

4 Retro<\/strong> technologies and authenticity (Gilbert and Pearson<\/strong>, Taylor\/technostalgia, Hogarty\/retro<\/strong>)<\/p>\n

5 Authenticity and technology in world music <\/strong>vs global pop<\/strong> (Brown<\/strong>, Taylor<\/strong>\/authenticity of primality, race)<\/p>\n

6 Sampling, remixing\/mash-ups <\/strong>and the notion of authenticity\/originality\/authorship\u2014discuss relations between all three concepts as related to remix, DJing, and sampling phenomena (Gunkel<\/strong>, McLeod<\/strong>, Everything is a remix<\/strong> video)<\/p>\n

7 Authenticity as related to social categories of class, gender, race. age\/generation<\/strong>. Incorporate (more substantially) only two<\/strong> of the following authors\/articles: Kenney <\/strong>(phonograph), Kearney <\/strong>(guitar), and Marsh\/West<\/strong> (Madonna\/Bjork) on gender; Talyor\/technostalgia<\/strong>), Brown<\/strong> (global pop, race), Weheliye<\/strong> (on race). Here it is important to establish the notion of authenticity<\/strong> of gender\/class\/race (in relation to technology) as a social construct <\/strong>(vs gender or race as social construct, e.g., perceptions of authentic vs inauthentic femininity, etc).<\/p>\n

o Each of these topics have to always<\/strong> be related to music technologies<\/strong>!<\/p>\n

Central to discussions has to be critical<\/strong> examination of 1) assumptions<\/strong> (ideologies) and 2) constructions<\/strong> (and perspectives) of authenticity (i.e., contradictions)!<\/p>\n

Further guidelines:<\/strong><\/p>\n

compare<\/strong> articles, and find important relations and distinctions between them. <\/p>\n

For each article\/topic\/idea, provide sufficient examples\/details<\/strong> from text. Explain relevant theories<\/strong> as related to author\u2019s main arguments. Provide enough data about social context<\/strong> for each case. All articles\/videos<\/strong> in bold<\/strong> should be included in discussion (each of the articles should be examined in substantial<\/strong> measure, not only briefly mentioning it). <\/p>\n

Also, avoid summarizing<\/em><\/strong> whole articles (you have already done that in your assignments), unless this would be directly related to the issues of authenticity\/technology<\/strong> (focus only on these issues). Follow more synthesis<\/strong> of theory<\/strong> approach (see here) http:\/\/explainwell.org\/index.php\/table-of-contents-synthesize-text\/summary-and-synthesis-what-is-the-difference\/<\/a> (discuss only issues related authenticity<\/strong> and technology<\/strong> from each text, and combine those passages into broader argument<\/strong> you are making).<\/p>\n

It should be clear from your paper that you understand all the complexities and contradictions<\/strong> related to the concept of authenticity\/music technologies. <\/p>\n

Structure<\/strong> of the paper, include introduction with thesis statement\/main argument, and add conclusion, plus discuss at least 5 sections (not necessarily in order<\/strong> given above).<\/p>\n

Grading criteria<\/strong>:<\/p>\n

Include a least 7-8 required articles<\/strong> (examine substantially), and discuss (and explain) theories<\/strong> from these articles, as related to the main question\/authenticity\/technology (+ context<\/strong> + critique<\/strong>). Demonstrate competent and critical understanding<\/strong> of main concept (authenticity\/technology\/contradictions, in all its aspects). 50%<\/p>\n

Examples\/details<\/strong> from articles. 25%<\/p>\n

Originality<\/strong> of comparisons (added value). 5%<\/p>\n

Form, clarity<\/strong> of arguments. 20%<\/p>\n

Articles: <\/p>\n

Readings<\/strong>: Libin<\/strong>, Laurence. 2000. \u201cProgress, Adaptation, and the Evolution of Musical Instruments.\u201d Journal of the American Musical Instrument Society<\/em>, 26: 187-208(213) [3-19(22)]. Available here: https:\/\/amis.mircat.org\/jamis\/2000_187.pdf<\/a><\/p>\n

Readings: Kenney<\/strong>, William Howland.1999. \u201cThe Gendered Phonograph: Women and Recorded Sound, 1890\u20141930,\u201d 88\u2013108 (you can skip<\/strong> pages 98-100, and 107-108) (In Recorded Music in American Life: The Phonograph and Popular Memory, 1890\u20131945<\/em>).<\/p>\n

Readings: Katz<\/strong>, Mark. 2004. \u201cCapturing Jazz.\u201d In Capturing Sound: How Technology has Changed Music<\/em>. Berkeley and Los Angeles: University of California Press, pages 72-84<\/strong>. Millard<\/strong>, Andre. 2000. \u201cTape Recording and Music Making.\u201d In Music and Technology in the Twentieth Century<\/em>. Braun, Hans-Joachim, ed. Baltimore and London: The Johns Hopkins University Press, 158-165<\/strong> (skip last, Third World, section, 165-166). <\/p>\n

Readings: Wicke<\/strong>, Peter. 2009. \u201cThe Art of Phonography: Sound, Technology, and Music.\u201d Read only pages 151-165: skip<\/strong> intro, and start with \u201cThe Simulated performance,\u201d and then skip<\/strong> the last section: \u201cSimulated Sound\u201d (in The Ashgate Research Companion to Popular Musicology<\/em>, 147-168). Frith<\/strong>, Simon: \u201cArt Versus Technology,\u201d read only<\/strong> 263\u2013274 (from Media, Culture, and Society<\/em>, 1986). Frith\u2019s reading available here: https:\/\/cuni.primo.exlibrisgroup.com\/permalink\/420CKIS_INST\/1pop0hq\/cdi_sage_journals_10_1177_016344386008003002<\/a><\/p>\n

Readings: Auslander<\/strong>, Philip. 1999. \u201cIs it Live, or…?\u201d In Liveness: Performance in a Mediatized World<\/em>. London and New York: Routledge, readpages24-31, 34-39<\/strong>(43).<\/p>\n

Readings<\/strong>: Brown<\/strong>, Jayna. 2009. \u201cBuzz and Rumble: Global Pop Music and Utopian Impulse.\u201d 125-143 (you may skip pages 138-139, a section \u201cRepresent the world town,\u201d about M.I.A.; you can also skip [or only skim] the theoretical section about utopia, on pages 128 [starting in the second paragraph], and 129 [full page]; article was published in Social Text<\/em> 102: Politics of Recorded Sound<\/em>). Taylor, <\/strong>Timothy, 1997: \u201cAuthenticity,\u201d read only page 21<\/strong> (basic definition of authenticity), and section “Authenticity as primality,\u201d pages 26-28 <\/strong>(in Global Pop: World Music, World Markets<\/em>). Brown\u2019s reading available here: https:\/\/www.academia.edu\/9392213\/Buzz_and_Rumble_Global_Pop_Music_and_Utopian_Impulse<\/a><\/p>\n

Readings: Gilbert<\/strong>, Jeremy and Ewan Pearson<\/strong>. 1999. \u201cMetal Machine Music: Technology, Subjectivity, and Reception.\u201d In Discographies: Dance Music, Culture and the Politics of Sound<\/em>. New York: Routledge, read only the following pages: 110-113 <\/strong>(Intro + \u201cTechnology and visibility\u201d), 115, 116<\/strong> (beginning of \u201cWe are the robots,\u201d skip the rest of it), only first full paragraph on page 118<\/strong> (folk authenticity), 121-127<\/strong> (\u201cLow technologies\u201d), 131-136<\/strong> (\u201cEmpire of the senses,\u201d abridged, read until second paragraph on p. 136\u2014to finish the \u201cHacienda\u201d section). <\/p>\n

Readings<\/strong>: McLeod<\/strong>, Kembrew, 2015: \u201cAutorship, Ownership, and Musical Appropriation.\u201d In SAGE Handbook of Popular Music<\/em>, pp. 598-612<\/strong>. Gunkel<\/strong>, David J. 2008. \u201cMash-up and Remix: The Art of Recombinant Rock\u2019n\u2019Roll\u2019\u201d (published in Popular Music and Society). <\/em>Read only pages 10-12, <\/strong>and 13-14 <\/strong>(only parts marked with red in the article). McLeod’s reading available here: https:\/\/cuni.primo.exlibrisgroup.com\/permalink\/420CKIS_INST\/1ustijj\/alma9925371323506986<\/a> Watch<\/strong>: Everything is a remix<\/em> (37 minutes; link: https:\/\/www.youtube.com\/watch?v=nJPERZDfyWc<\/a>).<\/p>\n

Reading<\/strong>: Weheliye<\/strong>, Alexander Ghedi. 2023. \u201cHypersoul,\u201d read only pages 54-60<\/strong>, and \u201cDesiring Machines in Black Popular Music,\u201d read pages 60-74<\/strong>, and skip pages 65-70<\/strong> (from Chapter 2, from Feenin: R&B Music and the Materiality of BlackFem Voices and Technology<\/em>). <\/p>\n

Visit <\/strong>of hereandthere <\/strong>venue, <\/strong>exact date and time to be specified later in class (website: https:\/\/ra.co\/promoters\/127072<\/a>); topics of the visit: (1) feminist and queer approaches to music technologies\/spaces\/events; (2) demonstration of EDM technologies. No class this week, as we go to the hereandthere venue, but you have to submit the assignment before the visit, by Wednesday, at 19h).<\/p>\n

Readings: Kearney<\/strong>, Mary Celeste, 2017: \u201cGearing Up: Rock Technology\u201d, read only pages 133-145<\/strong>(151) (in Gender and rock<\/em>). Kearney\u2019s text available here: https:\/\/cuni.primo.exlibrisgroup.com\/permalink\/420CKIS_INST\/1ustijj\/alma9925692737206986<\/a> Marsh<\/strong>, Charity, and Melissa West<\/strong>. 2003. \u201cThe Nature\/Technology Binary Opposition Dismantled in the Music of Madonna and Bj\u00f6rk.\u201d In Music and Technoculture<\/em>. Lysloff, Ren\u00e9 T. A. and Leslie C. Gay, Jr., eds. Middletown, CT: Wesleyan University Press, 182-203. Read only the following pages\/sections<\/strong>: 182-185 (intro sections), 188-189 (\u201cBjork’s reltionship with her co-producers\u201d), 192-195 (\u201cImplementing Iceland with Electronica: Bjork\u2019s Homogenic\u201d), 196-198 (\u201cConclusions\u201d). March and West\u2019s text available here: https:\/\/cuni.primo.exlibrisgroup.com\/permalink\/420CKIS_INST\/1ustijj\/alma9925211806206986<\/a><\/p>\n

Readings<\/strong>: Taylor<\/strong>, Timothy D. 2001. \u201cTechnostalgia.\u201d In Strange Sounds: Music, Technology, & Culture<\/em>. New York, London: Routledge, read only 96-111<\/strong> (skip last part: 111-114). Hogarty<\/strong>, Jean, 2016: \u201cThe technological determinism of retro culture and hauntology\u201d, read pages 43-48<\/strong> (in Popular Music and Retro Culture in the Digital Era<\/em>).<\/p>\n

Optional reading<\/strong>: Fisher<\/strong>, Mark, 2014: \u201cThe slow cancellation of the future,\u201d read only from pages 12 (end of page) to 22 (from Chapter 0\/Introduction, from Ghosts of My Life: Writings on Depression, Hauntology, and Lost Futures<\/em>); Bluemink<\/strong>, Matt. 2021. \u201cAnti-Hauntology: Mark Fisher, SOPHIE, and the Music of the Future.\u201dBlue Labyrinths<\/em> Link: https:\/\/bluelabyrinths.com\/2021\/02\/02\/anti-hauntology-mark-fisher-sophie-and-the-music-of-the-future\/<\/a>. Schrey<\/strong>, Dominik, 2014: \u201cAnalogue Nostalgia and the Aesthetics of Digital Remediation\u201d, pages 27-36 (in Media and Nostalgia<\/em>, edited by Katharina Niemeyer).<\/p>\n","protected":false},"excerpt":{"rendered":"

Final paper: Music technologies and cultural authenticity Course: Music, culture, and technology class Deadline for submission: June 16, 2025, by 23.55. Upload to moodle, Topic 12 (don\u2019t send to email)! Format: 7-9 pages, double space, font 12, word doc format (not pdf, not open doc, or other); plus proper bibliography (not included in page count). […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","template":"","meta":[],"disciplines":[79],"paper_types":[],"tagged":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions\/44009"}],"collection":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions"}],"about":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/types\/questions"}],"author":[{"embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/comments?post=44009"}],"version-history":[{"count":0,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/questions\/44009\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/media?parent=44009"}],"wp:term":[{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/disciplines?post=44009"},{"taxonomy":"paper_types","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/paper_types?post=44009"},{"taxonomy":"tagged","embeddable":true,"href":"https:\/\/www.writemyessays.app\/blog\/wp-json\/wp\/v2\/tagged?post=44009"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}