To what extent are our musical tastes really our own? Where is the “greatness” of a significant musical artist really located? To what extent can the significance of a musical artist’s achievements really be attributed to them?

In this seminar, we will explore the institutional, cultural, societal, economic, technological, and market mechanisms that create and/or influence value in the worlds of music creation and consumption.

The lens through which we will consider these factors is Genre.

This is a project-oriented course. The majority of our time will be spent on two projects (which themselves combine into one larger semester-wide project). A collaborative, communal, and supportive class culture is essential to the success of course participants; we will all take responsibility for establishing and mainting such a culture.

Students will consider their own favorite artists, and, while gaining a greater appreciation for this artist’s intellectual-musical heritage, will explore the various social factors that co-produced this artist’s impact alongside the activities of the artist themselves. The aim is to complicate assertions that x artist is “the greatest,” or some similar claim, and to give us perspective on such pronouncements.

Students will engage with a constellation of readings in social philosophy, critical theory, anthropology, philosophy of education, aesthetics, art criticism, and musicology.

No prior musical knowledge is required. Students are required to enjoy some form of music and be interested in interrogating both that music and its context(s).