Hostname: page-component-848d4c4894-5nwft Total loading time: 0 Render date: 2024-05-05T21:42:15.502Z Has data issue: false hasContentIssue false

All Songs Considered: The Persuasive Listening of Music Podcasts

Published online by Cambridge University Press:  28 November 2022

Abstract

Music podcasts have proliferated as public discourse about popular music. A significant part of the expanding podcast industry, music podcasts include titles such as All Songs Considered, Switched on Pop, Song Exploder, Sound Opinions, New York Times Popcast, and Lost Notes. These podcasts often feature a combination of conversation and musical selections, which highlight aspects of the music for podcast listeners. In this article, I argue that we should think of music podcasts as persuasive demonstrations of music consumption. Music podcasts present music as a subject for discussion and also implicitly model listening techniques, convincing podcast listeners to adopt specific approaches to music recordings. I explore three podcasts: All Songs Considered, Switched on Pop, and Disability Visibility. I examine how these podcasts present music as their subject, while advancing particular theories of listening that can serve or subvert privileged modes of music reception.

Type
Article
Copyright
Copyright © The Author(s), 2022. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bibliography

Becker, Judith. Deep Listeners: Music, Emotion, and Trancing. Bloomington, IN: Indiana University Press, 2004.Google Scholar
Bottomley, Andrew J. Sound Streams: A Cultural History of Radio-Internet Convergence. Ann Arbor, MI: University of Michigan Press, 2020.CrossRefGoogle Scholar
Dell'Antonio, Andrew, ed. Beyond Structural Listening?: Postmodern Modes of Hearing. Berkeley, CA: University of California Press, 2004.CrossRefGoogle Scholar
Desai-Stephens, Anaar. ‘The Infrastructure of Engagement: Musical Aesthetics and the Rise of YouTube in India’. This issue.Google Scholar
Eidsheim, Nina Sun. The Race of Sound: Listening, Timbre & Vocality in African American Music. Durham, NC: Duke University Press, 2019.CrossRefGoogle Scholar
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press, 1994.CrossRefGoogle Scholar
Hamilton, Jack. ‘Across the Great Divide: Popular Music Studies and the Public’. Twentieth-Century Music 18/1 (2020), 2944.CrossRefGoogle Scholar
Harper, Paula. ‘Autoplaying, Unmuting, Attending: (Re)formatting the Twenty-First-Century Digital Sensorium’. This issue.Google Scholar
Hirsch, Lily, Mosley, Imani, James, Robin, and Morrison, Matthew D.. ‘Review of Musicology Twitter, Journal of Musicological Research’. Journal of Musicology Research 40/4 (2021), 349–55. https://doi.org/10.1080/01411896.2021.1969859.CrossRefGoogle Scholar
Holmes, Jessica. ‘Expert Listening beyond the Limits of Hearing: Music and Deafness’. Journal of the American Musicological Society 70/1 (2017), 171220.CrossRefGoogle Scholar
Judd, Hannah. ‘Virals, Memes, and the Lick's Circulation through Online Jazz Communities’. This issue.Google Scholar
Kapchan, Deborah. ‘Learning to Listen: The Sound of Sufism in France’. The World of Music 51/2 (2009), 6589.Google Scholar
Kirkpatrick, Bill. ‘Voices Made for Print: Crip Voices on the Radio’, in Radio's New Wave: Global Sound in the Digital Era, ed. Loviglio, Jason and Hilmes, Michele. New York: Routledge, 2013. 106–25.Google Scholar
McCracken, Allison. ‘“God's Gift to Us Girls”: Crooning, Gender, and the Re-Creation of American Popular Song, 1928–1933’. American Music 17/4 (1999): 365–95.CrossRefGoogle Scholar
Oliveros, Pauline. Sounding the Margins: Collected Writings 1992–2009, ed. Hall, Lawton. Kingston, NY: Deep Listening Publications, 2010.Google Scholar
Robinson, Dylan. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis, MN: University of Minnesota Press, 2020.CrossRefGoogle Scholar
Samuels, Ellen. ‘Six Ways of Looking at Crip Time’. Disability Studies Quarterly 37/3 (2017). https://dsq-sds.org/article/view/5824/4684 (accessed 22 July 2022).CrossRefGoogle Scholar
Sanden, Paul. Liveness in Modern Music: Musicians, Technology, and the Perception of Performance. New York: Routledge, 2013.CrossRefGoogle Scholar
Sloan, Nate and Harding, Charlie. Switched on Pop: How Popular Music Works, and Why It Matters. New York: Oxford University Press, 2019.Google Scholar
Small, Christopher. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press, 1998.Google Scholar
Spinelli, Martin, and Dann, Lance. Podcasting: The Audio Media Revolution. New York: Bloomsbury Academic, 2019.Google Scholar
Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press, 2003.Google Scholar
Sterne, Jonathan. MP3: The Meaning of a Format. Durham, NC: Duke University Press, 2012.Google Scholar
Straus, Joseph. Extraordinary Measures: Disability in Music. New York: Oxford University Press, 2011.CrossRefGoogle Scholar
Subotnik, Rose Rosengard. Deconstructive Variations: Music and Reason in Western Society. Minneapolis, MN: University of Minnesota Press, 1995.Google Scholar
Staff, Vox. ‘How Vox Built a YouTube Channel with 10 Million Subscribers’. Vox.com, 22 October 2021. www.vox.com/videos/2021/10/22/22736656/vox-youtube-10-million (accessed 22 July 2022).Google Scholar
Wong, Alice. ‘Diversifying Radio with Disabled Voices’. Transom.org, 10 May 2016. https://transom.org/2016/alice-wong/ (accessed 22 July 2022).Google Scholar
Wong, Alice. Disability Visibility: First-Person Stories from the Twenty-First Century. New York: Vintage Books, 2020.Google Scholar
Yoshihara, Mari. Musicians from a Different Shore: Asians and Asian Americans in Classical Music. Philadelphia, PA: Temple University Press, 2007.Google Scholar
Sean, Big. Detroit 2. Prod. Amaire Johnson, Boi-1daCool & Dre, Darhyl Camper, DJ Dahi, Helluva, Hit-Boy, Jay John Henry, Kaelin Capron, Key Wane, Mike Will Made It, Mustard, No I.D., Take a Daytrip, and TT Audi. GOOD (Def Jam), 2020.Google Scholar
Cohen, Leonard. Various Positions. Prod. John Lissauer. Columbia (Passport), 1984.Google Scholar
Lea, Gaelynn. Learning How to Stay. Prod. Al Church, Dave Mehling, and Gaelynn Lea, not on label, 2018.Google Scholar
Sean, Big. Detroit 2. Prod. Amaire Johnson, Boi-1daCool & Dre, Darhyl Camper, DJ Dahi, Helluva, Hit-Boy, Jay John Henry, Kaelin Capron, Key Wane, Mike Will Made It, Mustard, No I.D., Take a Daytrip, and TT Audi. GOOD (Def Jam), 2020.Google Scholar
Cohen, Leonard. Various Positions. Prod. John Lissauer. Columbia (Passport), 1984.Google Scholar
Lea, Gaelynn. Learning How to Stay. Prod. Al Church, Dave Mehling, and Gaelynn Lea, not on label, 2018.Google Scholar