Winter 2014/Houston

TC515

Taylor/Risdon

TC515: UNDERSTANDING POPULAR MUSIC (South by Southwest). Barry Taylor with Nate Risdon.

DESCRIPTION: The course will investigate some of the social, ethical, and psychological implications of popular music upon theology, and in turn seek a theological engagement with the diverse and varied contours of popular music. We live in an age where popular music provides a “soundtrack” to our lives; this course will explore the theological implications of this cultural artifact. Including an immersive exposure to the live music experience at the South by Southwest Festival. The course will explore the relationship between music makers and their audiences from a phenomenological and theological perspective.

SIGNIFICANCE FOR LIFE AND MINISTRY: Music plays an integral role in contemporary life, it also plays a pivotal role in both congregational worship and evangelism—this class will equip those seeking to engage contemporary culture, be it in a pastoral ministry or social setting, by deepening our understanding of the nature of music and its role in our lives. The class will also be of benefit to aspiring/practicing musicians and composers.

LEARNING OUTCOMES: Students will be able, through examination and investigation of popular music, interactive discussion, and class lectures, to (1) demonstrate their understanding of both the structure and social contexts of popular music; (2) articulate the relationship between the moral and philosophical within popular music; (3) demonstrate their theological engagement with a particular expression of popular music; and (4) present their understanding of the ways in which popular music influences and shapes contemporary church and worship life integrating course material and course experiences.

COURSE FORMAT: This is a hybrid course aligned with Fuller’s academic calendar and will include nine weeks of online instruction. The class will then meet for one week in Austin, Texas at the South by Southwest Festival with 4-hour class sessions each morning [20 hours] which will include reflection on the immersion experiences, lecture, and guest speakers. In addition to longer term projects (such as essays, research papers, reflective journaling), a typical week’s required activities and interactions will include:

REQUIRED READING:

DeNora, Tia. Music in Everyday Life. Cambridge University Press, UK, 2000. ISBN: 978-0521627320, Pub. Price: $33.62 [196pp]

Frith, Simon. Performing Rites. Pantheon, 1981. ISBN: 978-0674661967, Pub. Price $23.00 [360pp.].

Stephens, Ken. What to Listen for in Rock. Yale University Press, 2002. ISBN: 978-0300092394, Pub. Price $57.60 [272 pp.]

Storey, John. Cultural Studies and the Study of Popular Culture: Third Edition. Edinburgh University Press, 2010. ISBN: 978-0748640386, Pub. Price $35.00 (paperback) [208 pp.]

Vanhoozer, Kevin J., ed. Everyday Theology. Baker Academic, 2007. ISBN: 978-0801031670, Pub. Price $12.62 [288 pp.]

* Listening to a selection of popular music spanning the history of the medium will be a required part of the curriculum (guidelines for this will be presented in class).

RECOMMENDED READING:

Baker, Jonny, and Doug Gay, with Jenny Brown. Alternative Worship. Baker Books, 2004. ISBN: 978-0801091704, Pub. Price $7.75 [160 pp.]

Cone, James. The Spirituals and the Blues: An Interpretation. Orbis, 1992. ISBN: 978-0883448434, Pub. Price $12.63 [152 pp.]

Dylan, Bob. Chronicles Vol. 1. Simon & Schuster, 2005. ISBN: 978-0743244589, Pub. Price $12.17 [320 pp.]

Hesmondaugh, David, and Keith Negus. Popular Music Studies. Oxford University Press, 2002. ISBN: 978-0340762486, Pub. Price $35.00 [288 pp.]

Kahney, Leander. The Cult of iPod. San Francisco: No Starch Press, 2005. ISBN: 978-1593270667, Pub. Price $18.96 [160 pp.]

Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press, 1994. ISBN: 978-0819562753, Pub. Price: $22.95 [257pp]

ASSIGNMENTS AND ASSESSMENT:

  1. 7-10 minute video or essay (300-400 words) which serves as an introduction for the student and outlines the student’s music preferences, instrumental capabilities, and aspirations (10%).

  2. Posts every odd numbered week (250-300 words) reflecting on assigned reading and as well as response to a two classmate’s post (100-150 words) - (20%).

  3. Posts every even numbered week of the quarter (250-300 words) in a journal reflecting on lecture/online activity and two response to a classmate’s post (100-150 words each) - (20%).

  4. Daily journal while in Austin at SXSW reflecting on experiences in light of reading – (10%) (Much of the content of this journal will serve to fill out the final third of your term paper). The student’s journal must be submitted separately from the term.

  5. A twelve- to fifteen-page paper rooted in field research on one of the musical genres covered in the course. Papers will forge a theological response to the research gathered. Students will study specific music genres (guidelines will be given in class) and include a plan for a theological presentation in their life and ministry (40%). For the sake of the students’ schedules, students will be required to turn in a draft of the first third of the paper on week 4 of the class. A second draft including the first and second third of the paper will be due on week 8 of the course. The complete and final paper will be due at the end of the winter quarter.

A more detailed schedule for papers will be given in the first class of the intensive.

PREREQUISITES: None.

RELATIONSHIP TO CURRICULUM: Fulfills the MAT in Theology & Arts format requirement in Integrative studies. Meets the MACL in Integrative Studies requirement for an interdisciplinary course (IDPL).

FINAL EXAMINATION: None.


NOTE: This ECD is a reliable guide to the course design but is subject to modification. Textbook prices are set by publishers and are subject to change.