國立虎尾科技大學 |

Singing Through the Pain : = Popstars' Trauma and Women's Labor in the Twenty-First Century.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Singing Through the Pain :/
Reminder of title:	Popstars' Trauma and Women's Labor in the Twenty-First Century.
Author:	Hearfield, Katelyn Rose.
Description:	1 online resource (250 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
Contained By:	Dissertations Abstracts International85-03A.
Subject:	Music history. -
Online resource:	click for full text (PQDT)
ISBN:	9798380385077

Singing Through the Pain : = Popstars' Trauma and Women's Labor in the Twenty-First Century.
Hearfield, Katelyn Rose.

Singing Through the Pain :Popstars' Trauma and Women's Labor in the Twenty-First Century. - 1 online resource (250 pages)

Source: Dissertations Abstracts International, Volume: 85-03, Section: A.

Thesis (Ph.D.)--University of Pennsylvania, 2023.

Includes bibliographical references

This dissertation argues for the potential of popular music in the twenty-first century to encompass various forms of affective labor in response to trauma and violence. By focusing on popstars, I explore the global reach-and limitations-of their affective labor by attending to their music's reception amongst fans, trauma survivors, and general audiences. For the performers discussed in this dissertation, their traumatic experiences are connected to musicmaking and gender: Ariana Grande's response to the Manchester Arena bombing (2017), Kesha's allegations of assault by her producer (2014), and Lady Gaga's recovery from a performance injury (2013). Through these examples in which there is a traumatic impetus to create, perform, or listen to music, I demonstrate the potential of pop songs to function as affective labor and promote a cooperative experience of healing that I term "collective processing." Music is an ideal mode for collective processing because of the interconnection of its lyrical and sensual meaning, allowing for the accordance of meaning and feeling as embodied knowledge. Through collective processing, the embodied effects of music become socially diffuse; making music, in other words, can transform healing from an individual to a communal experience. I conceive collective processing as a mode of musicmaking in which individual participants prioritize certain emotions within a group while retaining their privately felt emotions. The burden of care is thereby distributed among participants. Thus, they may productively engage with difficult emotions without fixating on their individual recovery, evading prescriptive or goal-oriented paths of healing, which remain unachievable for many trauma survivors. Making or listening to music can in this way serve as productive response to trauma and unprecedented violence. The project imagines the reparative possibilities of engaging together through music related to trauma and violence. Through analysis of trends in fan activity, social media engagement, and community musicmaking I theorize the phenomenon of collective processing as an intervention in how musicology and cultural studies broadly can think about the nexus of music, violence, labor, and community.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380385077Subjects--Topical Terms:

1179487
Music history.
Subjects--Index Terms:

Twenty-first centuryIndex Terms--Genre/Form:

554714
Electronic books.

Singing Through the Pain : = Popstars' Trauma and Women's Labor in the Twenty-First Century.
LDR:03665ntm a22004097 4500 001 1152727
005 20241213095543.5
006 m o d
007 cr mn ---uuuuu
008 250605s2023 xx obm 000 0 eng d
020 $a 9798380385077
035 $a (MiAaPQ)AAI30576113
035 $a AAI30576113
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Hearfield, Katelyn Rose. $3 1479802
245 1 0 $a Singing Through the Pain : $b Popstars' Trauma and Women's Labor in the Twenty-First Century.
264 0 $c 2023
300 $a 1 online resource (250 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
500 $a Advisor: Moreno, Jairo.
502 $a Thesis (Ph.D.)--University of Pennsylvania, 2023.
504 $a Includes bibliographical references
520 $a This dissertation argues for the potential of popular music in the twenty-first century to encompass various forms of affective labor in response to trauma and violence. By focusing on popstars, I explore the global reach-and limitations-of their affective labor by attending to their music's reception amongst fans, trauma survivors, and general audiences. For the performers discussed in this dissertation, their traumatic experiences are connected to musicmaking and gender: Ariana Grande's response to the Manchester Arena bombing (2017), Kesha's allegations of assault by her producer (2014), and Lady Gaga's recovery from a performance injury (2013). Through these examples in which there is a traumatic impetus to create, perform, or listen to music, I demonstrate the potential of pop songs to function as affective labor and promote a cooperative experience of healing that I term "collective processing." Music is an ideal mode for collective processing because of the interconnection of its lyrical and sensual meaning, allowing for the accordance of meaning and feeling as embodied knowledge. Through collective processing, the embodied effects of music become socially diffuse; making music, in other words, can transform healing from an individual to a communal experience. I conceive collective processing as a mode of musicmaking in which individual participants prioritize certain emotions within a group while retaining their privately felt emotions. The burden of care is thereby distributed among participants. Thus, they may productively engage with difficult emotions without fixating on their individual recovery, evading prescriptive or goal-oriented paths of healing, which remain unachievable for many trauma survivors. Making or listening to music can in this way serve as productive response to trauma and unprecedented violence. The project imagines the reparative possibilities of engaging together through music related to trauma and violence. Through analysis of trends in fan activity, social media engagement, and community musicmaking I theorize the phenomenon of collective processing as an intervention in how musicology and cultural studies broadly can think about the nexus of music, violence, labor, and community.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Music history. $3 1179487
650 4 $a Gender studies. $3 1179195
650 4 $a Womens studies. $3 1372829
653 $a Twenty-first century
653 $a Affective labor
653 $a Popular music
653 $a Social media
653 $a Trauma survivors
653 $a Women
655 7 $a Electronic books. $2 local $3 554714
690 $a 0208
690 $a 0733
690 $a 0453
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of Pennsylvania. $b Music. $3 1185772
773 0 $t Dissertations Abstracts International $g 85-03A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30576113 $z click for full text (PQDT)