You Say Invisible, I Say Ubiquitous: A (Formally Former) Student’s Response to Philip Tagg’s ‘Caught on the Back Foot: Epistemic Inertia and Visible Music’.

Anahid Kassabian

Abstract


This essay is a response to Philip Tagg’s paper ‘Caught on the Back Foot’ (2011) in this journal. It uses Tagg’s article as a point of departure to discuss several issues in popular music studies: diversity in the scholarly community and in citations; self-citation; the place of semiotics in popular music studies; and the absence of literature on ubiquitous musics. I argue on the one hand that some of Tagg’s choices in this essay don’t do service to his contribution to the field, and on the other hand that his argument about visible music and oculocentrism misses the crucial issue of attention. Finally, I suggest that the paradigm of ubiquitous musics that I have proposed elsewhere offers a more productive way to approach this crucial body of music.

Keywords


Philip Tagg; gender and popular music studies; ocularcentrism; attention; ubiquitous music

Full Text:

PDF

References


Adorno, Theodor W. (1976) Introduction to the Sociology of Music. New York: Seabury Press.

Ballantine, Christopher J. (1993) Marabi Nights: Early South African Jazz and Vaudeville. Johannesburg: Ravan Press.

Birdsall, Carolyn and Enns, Anthony, Eds (2012). Rethinking Theories of Television Sound. Journal of Sonic Studies. 3. http://journal.sonicstudies.org/vol03/nr01/a01 Accessed 10 June 2013

Bohlman, Philip (2008) Jewish Music and Modernity. Oxford: Oxford University Press.

Brackett, David (2000) Interpreting Popular Music. Berkeley and Los Angeles: University of California Press.

Clough, Patricia Ticineto with Jean Halley Eds (2007) The Affective Turn: Theorizing the Social. Durham, NC: Duke University Press.

Crary, Jonathan (2001) Suspensions of perception: attention, spectacle, and modern culture. Cambridge, MA: MIT Press.

Davenport, Thomas H. and John C. Beck (2001) The attention economy: Understanding the new currency of business. Cambridge, MA: Harvard Business School Press.

Deaville, James Ed. (2011) Music in Television: Channels of Listening. New York: Routledge.

Fast, Susan (2001) In the houses of the holy: Led Zeppelin and the power of rock music. Oxford: Oxford University Press.

Frith, Simon (1978) The Sociology of Rock. London: Constable.

García Quiñones, Marta, Anahid Kassabian, and Elena Boschi Eds. (forthcoming, 2013) Ubiquitous Musics: The Everyday Sounds that We Don't Always Notice. Aldershot: Ashgate

Gaunt, Kyra D. (2006) The games black girls play: learning the ropes from Double-dutch to Hip-hop. New York: New York University Press.

Graakjaer, Nicolai and Christian Jantzen Eds. (2009) Music in Advertising: Commercial Sounds in Media Communication & Other Settings. Aalborg: Aalborg University Press.

Gregg, Melissa and Gregory J. Seigworth Eds. (2010) The Affect Theory Reader. Durham, NC: Duke University Press.

Hisama, Ellie M. (2006) Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge: Cambridge University Press.

Hooper, Giles, (2013) A Sign of the Times: Semiotics in Anglo-American musicology, twentieth-century music (forthcoming).

Hosokawa, Shuhei (1984) ‘The walkman effect’, in Popular Music 4: 165-80.

Jarman, Freya –

(2013) Relax, Feel Good, Chill Out: the Affective Distribution of Classical Music. In Thompson and Biddle, Eds. Sound, Music, Affect: theorizing sonic experience. London: Continuum.

(2011) Queer Voices: Technologies, Vocalities, and the Musical Flaw. Basingstoke: Palgrave Macmillan.

Jay, Martin (1988) Scopic regimes of modernity. In Hal Foster Ed. Vision and Visuality: Discussions in Contemporary Culture. Seattle: Bay Press.

Journal of Sonic Studies (2012) http://journal.sonicstudies.org Accessed: 17 Dec 2012.

Kassabian, Anahid –

(2013) Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley and Los Angeles: University of California Press (forthcoming).

(2001) Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York and London: Routledge.

Levy, Claire (2002) Who is the "Other" in the Balkans? Local Ethnic Music as a Different Source of Identities in Bulgaria. In Richard Young Ed. Critical Studies, Amsterdam: Rodopi: 199-212.

Madrid, Alejandro (2008) Nor-tec Rifa!: Electronic Dance Music from Tijuana to the World. Oxford: Oxford University Press.

Massumi, Brian (2002) Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press.

Maus, Fred Everett (1993) ‘Masculine Discourse in Music Theory’, in Perspectives of New Music, 31 (2): 264-93.

Meintjes, Louise (2003) Sound of Africa!: making music Zulu in a South African studio. Durham, NC: Duke University Press.

Mockus, Martha (1994) Queer Thoughts on Country Music and k.d.lang, In Philip Brett, Elizabeth Wood, and Gary C. Thomas Eds. Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge.

Negrón-Muntaner, Frances (2000) Feeling pretty: West Side Story and Puerto Rican identity discourses, Social Text 63: 83-106.

Ochoa, Ana María (1997) Counterpoints of time and space in El Concierto de los colores. In Journal of Latin American Cultural Studies 6(1): 51-63.

Ogawa, Hiroshi (1998) The Effects of Karaoke on Music in Japan. In Toru Mitsui and Shuhei Hosokawa Eds. Karaoke Around the World: Global Technology, Local Singing. London: Routledge: 43-52.

Pacini Hernandez, Deborah (1995) Bachata: A Social History of Dominican Popular Music. Philadelphia: Temple University Press.

Ramsey, Guthrie P., Jr. (2003) Race Music: Black Cultures from Bebop to Hip-hop. Berkeley and Los Angeles: University of California Press.

Randall, Annie Janeiro (2009) Dusty! Queen of the Postmods. Oxford: Oxford University Press.

Simon, Herbert A. (1971) Designing Organizations for an Information-Rich World, in Martin Greenberger Ed. Computers, Communication, and the Public Interest. Baltimore, MD: Johns Hopkins Press.

Simon, Bryant (2009) Everything but the Coffee: Learning About America from Starbucks. Berkeley and Los Angeles: University of California Press.

Slobin, Mark (2000) Fiddler on the Move: Exploring the Klezmer World. Oxford: Oxford University Press.

Spiegel, Alan (1976) Fiction and the camera eye: visual consciousness in film and the modern novel. Charlottesville, VA: University Press of Virginia.

Sterne, Jonathan (1997) “Sounds Like the Mall of America: Programmed Music and the Architectonics of Commercial Space”, Ethnomusicology 41(1): 22-50.

Tagg, Philip –

(1979) “Kojak” 50 seconds of television music: Towards the analysis of affect in popular music. Götenborg: Musikvetenskapliga institutionen, Göteborgs Universitet.

(2011a) Caught on the Back Foot: Epistemic Inertia and Visible Music. IASPM@Journal 2 (1-2): 3–18. http://www.iaspmjournal.net/index.php/IASPM_Journal/article/view/556

(2011b) ‘Scotch Snaps: The Big Picture’. http://www.youtube.com/watch?v=3BQAD5uZsLY Accessed: 23 Sep 2012.

Tagg, Philip and Bob Clarida (2003) Ten Little Title Tunes. Montréal and New York: Mass Media Music Scholars’ Press.

Taylor, Jodie (2012) Playing it queer: popular music, identity and queer world-making. Frankfurt am Main: Peter Lang.

Thrift, Nigel (2004) ‘Intensities of Feeling: Towards a Spatial Politics of Affect’, Geografiska Annaler: Series B, Human Geography. 86(1): 57-78.

Whiteley, Sheila, (2005). Too Much Too Young. Popular Music, Age and Identity. Abington, Oxford/New York: Routledge




Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.