Discourses of Authenticity in America's Most Popular Genre
Date
2017
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Swarthmore College. Dept. of Sociology & Anthropology
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Thesis (B.A.)
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en
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Full copyright to this work is retained by the student author. It may only be used for non-commercial, research, and educational purposes. All other uses are restricted.
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Abstract
In this thesis, I examine the multiple and competing conceptions of authenticity used by country musicians and critics to make claims to “the real;” as well as the kinds of aesthetic, social, and political impacts those conceptions have on country music listeners, the genre itself, and broadly national political concerns. Throughout, I rely on theories of intertextuality, style, performativity, and “popular geopolitics” to make sense of data gathered with content analysis and close listening. I argue that in addition to serving as a sort of gravitational center that has helped keep country distinct from other genres, “authenticity” also functions as a “form of capital” which artists can use to legitimate their agendas and promote musical, political, or personal causes.