« From Billie Eilish to Olivia Rodrigo, recent work from scholars like Jessica Holmes has shown how some of popular music’s most visible artists are making hit songs about bad feelings (Kim Lee 2019; Kresovich 2022; Gale 2023; Hamori 2023; Holmes 2023). And while the gendered “breakup song” continues to thrive, contemporary artists are also expanding what counts as a legitimate subject for musical exploration. Unlike the alternative rock of the 1990s—in which depression was taken seriously from a predominantly white/masculine perspective—today’s popular music is overwhelmingly oriented toward the psychic lives of women, girls, and others on the margins of heteronormative/bourgeois norms. These developments are certainly noteworthy for scholars of contemporary music—but they also occur in the context of a much longer history that sees popular forms intersecting with sustained efforts to affect positive political change in the face of what Sara Marcus calls “political disappointment.” »
Date limite de soumission : 1 mars 2024.
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