when ur making original tunes, how do you go about creating the structure of a track? does it just kind of come to you as you chronologically work on ideas, or do you ever have a vision of the different sections before you start the nitty gritty?
As a person with an english degree i find myself intuitively structuring songs the same way one would structure a plot in a short story; with a beginning, rising action, climax, and resolution. Structure in music is totally subjective and you should never feel the need to stick to one specific method of structuring a song, but this progression is a good starting place which feels natural to build from.
“The only way I could approach writing about my own life was to think, ‘Oh, today I’m going to learn something new about what I feel.’”
Garrard Conley on how to write about your real life
PHIL 303: Authenticity
Wellesley College | Fall 2018 |
DRAFT, SUBJECT TO CHANGE
Fakes, forgeries, copies, knockoffs, imposters, posers, carpetbaggers, phonies: we have so many words for people and things that we judge to be inauthentic. But what exactly is authenticity? What, if anything, is valuable about it? In this course, we will explore the concept of authenticity as it surfaces in art, nature, food, culture, love, politics, history, and experience in an attempt to determine what is at stake in being the real deal.
1. September 5th
Lisa Heldke, "Two Concepts of Authenticity"
2. September 12th
The Authentic Object 1: Copies and Covers
Karen Gover, "Are All Multiples the Same? The Problematic Nature of the Limited Edition"
Matt Strohl, "On Culinary Authenticity"
Barry Lam, HiPhi Nation podcast, "Cover me Softly"
Byung-Chul Han, "The Copy is the Original"
3. September 19th
The Authentic Object 2: Fakes and Forgeries
Dennis Dutton, "Artistic Crimes"
Sherri Irvin, "Forgery and the Corruption of Aesthetic Understanding"
Peter Martin Jaworski, "In Defense of Fakes and Artistic Treason"
4. September 26th
The Authentic Object 3: Historical Authenticity
Carolyn Korsmeyer, "Touch and the Experience of the Genuine"
Shannon Lee Dawdy, "The Antique Fetish” in Patina: A Profane Archaeology
Sian Jones, "Negotiating Authentic Objects and Authentic Selves"
5. October 3rd
The Authentic Object 4: Nature
William Cronon, “The Trouble with Wilderness; or Getting Back to the Wrong Nature”
Thom van Dooren, "Authentic Crows: Identity, Captivity and Emergent Forms of Life"
6. October 10th
The Authentic Self 1: Existentialist Roots
"Authenticity," section 3.2. "Sartre and de Beauvoir" in the Stanford Encyclopedia of Philosophy
Jean Paul Sartre, "Existentialism is a Humanism"
Simone de Beauvoir, The Second Sex, Introduction and "The Independent Woman"
7. October 17th
The Authentic Self 2: Posers and Sheep
Jerrold Levinson, "Artistic Worth and Personal Taste"
Nick Riggle, "On the Aesthetic Ideal"
Madeleine Ransom “Frauds, Posers, and Sheep: A Virtue Theoretic Solution to the Acquaintance Debate”
8. October 24th
The Authentic Self 3: Sincerity, Sellouts, and the Curated Self
Lauren Bialystok, "Refuting Polonius: Sincerity, Authenticity, and 'Schtick'"
Jay Owens, "The Age of Post-Authenticity and the Ironic Truths of Meme Culture"
Toby Shorin, "After Authenticity"
Alex King and Thi Nguyen, "What's Wrong with Rebranding?"
9. October 31st
The Authentic Self 4: Race, Culture, and Identity
Paul C. Taylor, "Roots and Routes: Disarming Authenticity" in Black is Beautiful
Emily S. Lee, "The Ambiguous Practices of the Inauthentic Asian-American Woman"
Jennifer M. Morton, "Cultural Code-Switching: Straddling the Achievement Gap"
10. November 7th
The Authentic Self 5: Passing
Adrian Piper, "Passing for White, Passing for Black"
Daniel Silvermint, "Passing as Privileged"
11. November 14th
The Authentic Self 6: Love and Autonomy
Harry Frankfurt, "Autonomy, Necessity, and Love"
Monique Wonderly, "Love and Attachment"
Marina Oshana, "Autonomy and the Question of Authenticity"
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