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Please note this course unit is delivered in French. 

This course examines different forms of ‘protest’ in French popular music from the 1950s to the present, in their relation to different expressions of masculinity: prestige in the chanson of Georges Brassens; provocation in the pop and reggae songs of Serge Gainsbourg; socio-racial minority in the gangsta rap of NTM; LGBTQ+ identity in the pop-rap of Eddy de Pretto. After introductory sessions on popular music theory and the cultural significance of the notion of ‘protest’ in contemporary France, the course locates each artist, music genre and critical reception in their respective historical, stylistic and ideological context. The lectures gradually incorporate the notions of ‘authenticity’, ‘performance’, ‘star image’, ‘prestige’, ‘gender’ (especially masculinity) and ‘ethnicity’, in order to critically evaluate the success of these artists. In seminars, we focus on specific songs in an interdisciplinary manner, combining the analysis of primary material (lyrics, music, performance, interviews) with the close reading of secondary texts by academics. Every two weeks or so, the seminars focus on methodology for the successful completion of the music reviews or podcasts, and the final essay.

None. Note that this course unit is delivered in French. Students must be at or near the B2/C1 levels in the Common European Framework of Reference for Languages (i.e. post-A-level equivalent, using French flexibly and effectively for social and academic purposes)

The principal aims of the course unit are as follows:

• To know and recognize major music artists of 20th France and understand their place (success, prestige, style) in French culture;
• To reflect critically on the notions of ‘authenticity’, ‘protest’ and ‘popular culture’;
• To analyse popular songs and singers in an interdisciplinary manner;
• To use and understand appropriate concepts for the analysis of popular songs (critical theory, performance, gender, identity, production, reception, etc).

Some of the lectures for this unit will be delivered online.

By the end of this course students will be able to:

• know major music artists of 20^th France and understand their meaning and impact on French culture;
• analyse popular songs and singers in an interdisciplinary manner;
• appreciate the paradox that anti-Establishment values can have vast commercial and ideological appeal;

use and understand appropriate concepts for the analysis of popular songs (critical theory, performance, gender, identity, production, reception, etc).

By the end of this course students will be able to:

• define and manipulate concepts mainly drawn from Cultural Studies, and critically evaluate them;
• understand popular music as a semiotic system making sense through lyrics, music, star image, critical discourse, audience reception, and other semiotic signs;
• evaluate critically the notions of ‘cultural identity’ and ‘national culture’.
• Engage in independent reflection and enquiry.

• Use empirical evidence to support analysis and arguments.

By the end of this course students will be able to:

• structure and write an essay individually;
• carry out independent research;
• participate in class discussions in French and English.

By the end of this course students will be able to:

• Engage in independent reflection and enquiry.
• Analyse sources and cultural meaning, and provide a synthesis of their findings.
• Deliver an oral presentation in a formal setting.
• Write a report on a piece of original research.
• Engage in group discussion.
• Work as part of a team.