Introduction Subjectivity in European Song: Time, Place, and Identity

Taylor, Benedict; Owen, Ceri

doi:10.1525/ncm.2017.40.3.185

19th-Century Music

2017

DOI: 10.1525/ncm.2017.40.3.185

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Introduction Subjectivity in European Song: Time, Place, and Identity

Benedict Taylor

Ceri Owen

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Popular Song and the Poetics of Experience

Cole¹

2021

J. R. Music. Assoc.

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This article argues that songwriting can be an autobiographical activity. I trace a long-standing mistrust of self-expression in popular music through a branch of scholarship fixated with performance and personification, demonstrating its underlying affinities with post-structuralism and modernist dreams of impersonality. What we have lost as a result of this undue insistence on mediation is an awareness of the two-way traffic between life and lyrical craft. A poetics of song should pay increased attention to this intricate relationship – not reducing lyrics to biographical contingencies, but rather viewing autobiography itself as a complex process of self-reading, a public act of autobiographical making. My argument is illustrated with reference to three contemporary singer-songwriters who have interpreted aspects of their lives through song: Vic Chesnutt, Sun Kil Moon (Mark Kozelek) and Anohni (formerly of Antony and the Johnsons). Their work ultimately traverses and obscures the interstices between experience and imagination.

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Popular Song and the Poetics of Experience

Cole¹

2021

J. R. Music. Assoc.

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‘Piano ou Clavecin?’ Joaquín Nin’s Feud with Wanda Landowska’s Harpsichord

Cole¹

2022

J. R. Music. Assoc.

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Introduction Subjectivity in European Song: Time, Place, and Identity

Cited by 2 publications

References 0 publications

Popular Song and the Poetics of Experience

Popular Song and the Poetics of Experience

‘Piano ou Clavecin?’ Joaquín Nin’s Feud with Wanda Landowska’s Harpsichord

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