How are styles politicized and racialized in popular culture through the civil rights era, according to Garofalo? Why does Garofalo focus on sound, instrumentation, and style over lyrical content?
In his chapter, Frith distinguishes between the “musicological” and “sociological” aspects of music. Reflecting on our last three weeks of readings, and on your own experience with music, do you think that “musicological” and “sociological” aspects of music are ever fully separable? Why or why not?
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