Object: Blues music in the pre and post-war period. The reason I chose to study blues music is because its roots are firmly entrenched in the folk tradition. Subsequently the music is expressive in form and often reflects the current social climate. I studied music recorded by folklorist Alan Lomax and recording artists such as Son House, Muddy Waters and Robert Johnson and considered a series of documentary films directed by Martin Scorsese. Change: Blues music progressed from a form of musical expression contained within rural African-American communities to an international phenomenon which saw the likes of the Rolling Stones, Cream, John Mayall and The Kinks re-recording earlier blues songs with greater commercial success. I believe that this change can be attributed to the structural constructs put in place by the dominant modes of production that recognised a potential market and exploited it for capital gains. Concepts: Primarily the Situationist Internationale\u2019s critique of contemporary capitalist society, analysing the idea that modern life has receded into a spectacular representation which is dominated by the commodity form. Accompanying this idea is the notion that spectacular society is capable of co-opting popular movements which question the status-quo into its own reinforcement. In order to provide a link between the Situationist Internationale and the change which blues music underwent during the pre and post-war period I drew upon commentaries by Richard Middleton and Richard Peterson both of whom analyse the role of the recording industry in fabricating authenticity and exploiting a musical market for capital gain.<\/p>\n","protected":false},"excerpt":{"rendered":"
Joe Timlin, 2008, Stage 2<\/p>\n","protected":false},"author":8792,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[518,22,128],"tags":[183,416,97],"class_list":["post-1804","post","type-post","status-publish","format-standard","hentry","category-518","category-abstracts","category-stage-2-abstracts","tag-authenticity","tag-expression","tag-music"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1804","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/users\/8792"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/comments?post=1804"}],"version-history":[{"count":0,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1804\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/media?parent=1804"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/categories?post=1804"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/tags?post=1804"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}