Skip to main content

Matter and Form in Popular Music

  • Chapter
  • First Online:
The Value of Popular Music
  • 531 Accesses

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.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 34.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 44.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Bibliography

  • ———. 1993. Prolegomena to any aesthetics of rock music. Journal of Aesthetics and Art Criticism 51(1): 23–29.

    Article  Google Scholar 

  • Brody, Michael, and James Campbell. 1999. Rock and roll: An introduction. New York: Schirmer.

    Google Scholar 

  • Brown, Lee B. 2000. Phonography, rock records, and the ontology of recorded music. Journal of Aesthetics and Art Criticism 58(4): 361–373.

    Article  Google Scholar 

  • ———. 1970b. Second thoughts on a rock aesthetic: The Band. New Left Review 62: 75–82.

    Google Scholar 

  • Cooke, Deryck. 1959. The language of music. Oxford: Oxford University Press.

    Google Scholar 

  • ———. 2005. Form in rock music: A primer. In Engaging music: Essays in musical analysis, ed. Deborah Stein, 65–76. New York: Oxford University Press.

    Google Scholar 

  • Davies, Stephen. 1999. Rock versus classical music. Journal of Aesthetics and Art Criticism 57(2): 193–204.

    Article  Google Scholar 

  • ———. 2001. Musical works and performances: A philosophical exploration. Oxford: Oxford University Press.

    Book  Google Scholar 

  • 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.

    Google Scholar 

  • Fletcher, Tony. 2002. Remarks remade: The story of R.E.M. New York: Omnibus Press.

    Google Scholar 

  • Goehr, Lydia. 1992. The imaginary museum of musical works. Oxford: Clarendon Press.

    Google Scholar 

  • Gracyk, Theodore. 1996. Rhythm and noise: An aesthetics of rock. Durham: Duke University Press.

    Google Scholar 

  • Hamilton, Andy. 2007. Aesthetics and music. London: Continuum.

    Google Scholar 

  • 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.

    Article  Google Scholar 

  • Lerdahl, Fred, and Ray Jackendoff. 1983. A generative theory of tonal music. Cambridge, MA: MIT Press.

    Google Scholar 

  • Levinson, Jerrold. 1980. What a musical work is. The Journal of Philosophy LXXVII 1: 5–28.

    Article  Google Scholar 

  • 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.

    Google Scholar 

  • Machin, David. 2010. Analysing popular music: Image, sound, text. London: Sage.

    Book  Google Scholar 

  • Maconie, Stuart. 2013. The people’s songs: The story of modern Britain in 50 records. London: Ebury.

    Google Scholar 

  • McCartney, Paul, John Lennon, George Harrison, Ringo Starr, Tetsuya Fujita, Yuji Hagino, et al. 1993. The Beatles: Complete scores. London: Wise Publications.

    Google Scholar 

  • Middleton, Richard. 1990. Studying popular music. Milton Keynes: Open University Press.

    Google Scholar 

  • ———. 1995. The so-called ‘Flattened Seventh’ in rock. Popular Music 14(2): 185–201.

    Article  Google Scholar 

  • ———. 1997. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band. Cambridge, UK: Cambridge University Press.

    Google Scholar 

  • 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.

    Google Scholar 

  • Rosen, Craig. 1997. R.E.M. inside out: The stories behind every song. New York: Thunder’s Mouth Press.

    Google Scholar 

  • Scruton, Roger. 1997. The aesthetics of music. Oxford: Oxford University Press.

    Google Scholar 

  • Starr, Larry, and Christopher Waterman. 2006. American popular music: The rock years. Oxford: Oxford University Press.

    Google Scholar 

  • 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.

    Article  Google Scholar 

  • ———. 2012. Music’s meanings: A modern musicology for non-musos. New York/Huddersfield: The Mass Media Music Scholars’ Press.

    Google Scholar 

  • ———. 2004. Technology, creative practice and copyright. In Music and copyright, second edn, ed. Simon Frith, and Lee Marshall, 139–156. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Waksman, Steve. 1999. Instruments of desire: The electric guitar and the shaping of musical experience. Cambridge, MA: Harvard University Press.

    Google Scholar 

  • ———. 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.

    Chapter  Google Scholar 

  • ———. 2003. Popular music analysis: Ten apothegms and four instances. In Analyzing popular music, ed. Allan F. Moore, 16–38. Cambridge, UK: Cambridge University Press.

    Chapter  Google Scholar 

  • Warner, Timothy. 2003. Pop music – technology and creativity. Farnham, Surrey: Ashgate.

    Google Scholar 

  • Young, James O. 1995. Between rock and a harp place. Journal of Aesthetics and Art Criticism 53(1): 78–81.

    Article  Google Scholar 

  • Zak, Albin J. 2001. The poetics of rock: Cutting tracks, making records. Berkeley: University of California Press.

    Book  Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Rights and permissions

Reprints 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

Publish with us

Policies and ethics