Abstract
Matter and Form in Popular Music argues that popular songs' material parts typically coalesce into wholes at the level of their meanings. Melody and harmony do not have any privilege in this process, but songs’ elements interact under all musical parameters, such as timbre, texture, rhythm, and production. Examples from The Beatles and R.E.M. illustrate this. The chapter argues that because songs as meaningful wholes arise from their interacting material parts, form emerges from rather than dominates materials in popular music, and that this gives popular music aesthetic value.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Bibliography
———. 1993. Prolegomena to any aesthetics of rock music. Journal of Aesthetics and Art Criticism 51(1): 23–29.
Brody, Michael, and James Campbell. 1999. Rock and roll: An introduction. New York: Schirmer.
Brown, Lee B. 2000. Phonography, rock records, and the ontology of recorded music. Journal of Aesthetics and Art Criticism 58(4): 361–373.
———. 1970b. Second thoughts on a rock aesthetic: The Band. New Left Review 62: 75–82.
Cooke, Deryck. 1959. The language of music. Oxford: Oxford University Press.
———. 2005. Form in rock music: A primer. In Engaging music: Essays in musical analysis, ed. Deborah Stein, 65–76. New York: Oxford University Press.
Davies, Stephen. 1999. Rock versus classical music. Journal of Aesthetics and Art Criticism 57(2): 193–204.
———. 2001. Musical works and performances: A philosophical exploration. Oxford: Oxford University Press.
Fisher, John Andrew. 1998. Rock ‘n’ recording: The ontological complexity of rock music. In Musical worlds: New directions in the philosophy of music, ed. Philip Alperson, 109–123. University Park, PA: Penn State Press.
Fletcher, Tony. 2002. Remarks remade: The story of R.E.M. New York: Omnibus Press.
Goehr, Lydia. 1992. The imaginary museum of musical works. Oxford: Clarendon Press.
Gracyk, Theodore. 1996. Rhythm and noise: An aesthetics of rock. Durham: Duke University Press.
Hamilton, Andy. 2007. Aesthetics and music. London: Continuum.
Holt, Greg. 2006–11. Little Feat. http://gregholt.co.uk/littlefeat.htm. Accessed 16 Mar 2015.
Kania, Andrew. 2006. Making tracks: The ontology of rock music. Journal of Aesthetics and Art Criticism 64(4): 401–414.
Lerdahl, Fred, and Ray Jackendoff. 1983. A generative theory of tonal music. Cambridge, MA: MIT Press.
Levinson, Jerrold. 1980. What a musical work is. The Journal of Philosophy LXXVII 1: 5–28.
London, Justin. 2015. Rhythm. Grove music online. Oxford music online. Oxford: Oxford University Press. http://www.oxfordmusiconline.com/libezproxy.open.ac.uk/subscriber/article/grove/music/45963. Accessed 30 Apr 2015.
Macdonald, Ian. 2005. Revolution in the head: The Beatles’ records and the sixties, 2nd revised edn. London: Pimlico.
Machin, David. 2010. Analysing popular music: Image, sound, text. London: Sage.
Maconie, Stuart. 2013. The people’s songs: The story of modern Britain in 50 records. London: Ebury.
McCartney, Paul, John Lennon, George Harrison, Ringo Starr, Tetsuya Fujita, Yuji Hagino, et al. 1993. The Beatles: Complete scores. London: Wise Publications.
Middleton, Richard. 1990. Studying popular music. Milton Keynes: Open University Press.
———. 1995. The so-called ‘Flattened Seventh’ in rock. Popular Music 14(2): 185–201.
———. 1997. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band. Cambridge, UK: Cambridge University Press.
Northcutt, William M. 2006. The spectacle of alienation: Death, loss and the crowd in Sgt. Pepper’s Lonely Hearts Club Band. In Reading the Beatles, ed. Kenneth Womack, and Todd F. Davis, 129–146. Albany: SUNY Press.
Rosen, Craig. 1997. R.E.M. inside out: The stories behind every song. New York: Thunder’s Mouth Press.
Scruton, Roger. 1997. The aesthetics of music. Oxford: Oxford University Press.
Starr, Larry, and Christopher Waterman. 2006. American popular music: The rock years. Oxford: Oxford University Press.
Street, Stephen, William Orbit, and Ben Hillier. 2009. Blur – Album by album. Uncut July, Take 146. http://www.uncut.co.uk/blur/blur-album-by-album-by-stephen-street-william-orbit-and-ben-hillier-feature. Accessed 28 Jan 2015.
Tagg, Philip. 1982. Analysing popular music: Theory, method and practice. Popular Music 2: 37–65.
———. 2012. Music’s meanings: A modern musicology for non-musos. New York/Huddersfield: The Mass Media Music Scholars’ Press.
———. 2004. Technology, creative practice and copyright. In Music and copyright, second edn, ed. Simon Frith, and Lee Marshall, 139–156. Edinburgh: Edinburgh University Press.
Waksman, Steve. 1999. Instruments of desire: The electric guitar and the shaping of musical experience. Cambridge, MA: Harvard University Press.
———. 2003. The turn to noise: Rock guitar from the 1950s to the 1970s. In The Cambridge companion to the guitar, ed. Victor Anand Coelho, 109–121. Cambridge, UK: Cambridge University Press.
———. 2003. Popular music analysis: Ten apothegms and four instances. In Analyzing popular music, ed. Allan F. Moore, 16–38. Cambridge, UK: Cambridge University Press.
Warner, Timothy. 2003. Pop music – technology and creativity. Farnham, Surrey: Ashgate.
Young, James O. 1995. Between rock and a harp place. Journal of Aesthetics and Art Criticism 53(1): 78–81.
Zak, Albin J. 2001. The poetics of rock: Cutting tracks, making records. Berkeley: University of California Press.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2016 The Author(s)
About this chapter
Cite this chapter
Stone, A. (2016). Matter and Form in Popular Music. In: The Value of Popular Music. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-46544-9_4
Download citation
DOI: https://doi.org/10.1007/978-3-319-46544-9_4
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-46543-2
Online ISBN: 978-3-319-46544-9
eBook Packages: Religion and PhilosophyPhilosophy and Religion (R0)