This was originally intended to be a comment to Aya in her "Filking and Frolicking" LJ, but it was too long. Oh my, Sue Cochran has a lot to say? How unusual for her!
Anyway, here are my reflections about the definition of filk and some other responses to what Aya and some other folks wrote in her journal.
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I'm taking a seminar on critical theory next semester, so maybe I'll be able to add some specific thoughts on the conundrum of using words to describe an aural experience. This is a problem particularly pertinent to the filk community since the term originated after the development of the practice. Correct me if I'm wrong, but filk music developed late 1940s and the term didn't develop until about 1955-ish? Too lazy to check my source right now...
I think it was Elvis Costello (although sometimes attributed to others) who said, "Writing about music is like dancing about architecture." It shouldn't really exist, yet here's me earning my Ph.D. because of it. *grin*
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I think while the SFF component is integral to filk, I think performance space is equally important. For example, Whedonesque has been featuring a lot of Firefly house music and rap as of late, but I don't think most people here would consider it filk unless these artists showed up in a filk circle, ya know? Oye. Much to wrestle with...perhaps for the rest of my academic career, lol.
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