Matter and Form in Popular Music
- 338 Downloads
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.
KeywordsPopular Music Musical Work Popular Song Melodic Contour Chord Sequence
- Brody, Michael, and James Campbell. 1999. Rock and roll: An introduction. New York: Schirmer.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
- 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.
- Lerdahl, Fred, and Ray Jackendoff. 1983. A generative theory of tonal music. Cambridge, MA: MIT Press.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
- 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
- ———. 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.
- ———. 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
- Warner, Timothy. 2003. Pop music – technology and creativity. Farnham, Surrey: Ashgate.Google Scholar