Critical essays in popular musicology:
This reference work reproduces in facsimile form many of the most important and innovative journal articles and papers in the field, along with an introductory overview by the editor, Allan F. Moore.
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Aldershot [u.a.]
Ashgate
2007
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | This reference work reproduces in facsimile form many of the most important and innovative journal articles and papers in the field, along with an introductory overview by the editor, Allan F. Moore. |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXII, 608 S. Ill., graph. Darst., Notenbeisp. 25 cm |
| ISBN: | 9780754626473 |
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Datensatz im Suchindex
| _version_ | 1804136938499735552 |
|---|---|
| adam_text | Contents
Acknowledgements
vii
Introduction
ix
PART I CONTEXTS FOR ADDRESSING TEXTS
Theory
1
Philip
Tagg
(1989),
Black music , Afro-American music , and European
music , Popular Music,
8,
pp.
285-98. 5
2
Gino
Stefani
(1987),
A Theory of Musical Competence ,
Semiotica,
66,
pp.
7-22. 19
3
International Advisory Editors
(2005),
Can we get rid of the
populať in
Popular
Music? A Virtual Symposium with Contributions from the International Advisory
Editors of Popular Music, Popular Music,
24,
pp.
133-45. 35
4
Franco
Fabbri
(1999),
Browsing Music Spaces: Categories and the Musical
Mind , http://tagg.org/xpdfs/ffabbri990717.pdf. pp.
1-14. 49
5
Dai Griffiths
(1999),
The High Analysis of Low Music , Music Analysis,
18,
pp.
389-435. 63
6
Andrew Chester
(1970),
Second Thoughts on a Rock Aesthetic: The Band , New
Left Review,
62,
pp.
75-82.
Ill
7
Sean McCann
(1996),
Why I ll Never Teach
Rock n Roll
Again , Radical
History Review,
66,
pp.
191-202. 119
8
Allan Moore
(2002),
Authenticity as Authentication , Popular Music,
21,
pp.
209-23. 131
9
Serge
Laçasse
(2000),
Intertextuality and Hypertextuality in Recorded Popular
Music , in Michael
Talbot (ed.),
The Musical Work: Reality or Invention?,
Liverpool: Liverpool University Press, pp.
35-58. 147
10
Philip
Tagg
(1994),
From Refrain to Rave: The Decline of Figure and the Rise of
Ground , Popular Music,
13,
pp.
209-22. 171
11
Adam
Krims
(2003),
What does it Mean to Analyse Popular Music? , Music
Analysis,
22,
pp.
181-209. 185
Music Theory
12
Ronald Byrnside
(1975),
The Formation of a Musical Style: Early Rock ,
in C.
Hamm,
В.
Netti,
and
R.
Byrnside, Contemporary Music and Music Cultures,
Englewood Cliffs, NJ: Prentice-Hall, pp.
159-92. 217
13
Peter K.
Winkler (1978),
Toward a Theory of Popular Harmony , In Theory
Only,
4,
pp.
3-26. 251
vi
Critical Essays in Popular Musicology
14
Alf Björnberg
(1989),
On Aeolian Harmony in Contemporary Popular Music ,
Göteborg:
IASPM
-
Nordic Branch Working Papers, no. DK
1,
pp.
1-8. 275
15
Allan Moore
(1995),
The so-called flattened seventh in Rock , Popular Music,
14,
pp.
185-202. 283
16
Walter Everett
(2004),
Making Sense of Rock s Tonal Systems , Music Theory
Online,
10,
[pp.
1-35]. 301
17
Derek B. Scott
(1994),
Incongruity and Predictability in British Dance Band
Music of the
1920s
and
1930s ,
Musical Quarterly,
78,
pp.
290-315. 337
18
Robert
Walser (1995),
Rhythm, Rhyme and Rhetoric in the Music of Public
Enemy , Ethnomusicology,
39,
pp.
193-217. 363
PART II ADDRESSING TEXTS
19
Walter Everett
(1986),
Fantastic Remembrance in John Lennon s Strawberry
Fields Forever and Julia , Musical Quarterly,
72,
pp.
360-85. 391
20
John R. Covach
(1991),
The Rutles and the Use of Specific Models in Musical
Satire , Indiana Theory Review,
11,
pp.
119-44. 417
21
Carol Vernallis
(1998),
The Aesthetics of Music Video: An Analysis of
Madonna s Cherish , Popular Music,
17,
pp.
153-85. 443
22
Charles Ford
(1995),
Gently Tender : the Incredible String Band s Early
Albums , Popular Music,
14,
pp.
175-83. 477
23
Nicky Losseff
(1999),
Cathy s Homecoming and the Other World: Kate Bush s
Wuthering
Heights , Popular Music,
18,
pp.
227-40. 487
24
Nicola Dibben
(2001),
Pulp, Pornography and Spectatorship: Subject Matter
and Subject Position in Pulp s This is Hardcore , Journal of the Royal Musical
Association,
126,
pp.
83-106. 501
25
Fred E.
Maus (2001),
Glamour and Evasion: the Fabulous Ambivalence of the
Pet Shop Boys , Popular Music,
20,
pp.
379-93. 525
26
Elizabeth Eva Leach
(2001),
Vicars of Wannabe : Authenticity and the Spice
Girls , Popular Music,
20,
pp.
143-68. 541
27
Barbara Bradby
(2002),
Oh, Boy! (Oh, Boy!): Mutual Desirability and Musical
Structure in the Buddy Group ,
PopM/ör-MMs/c, 21,
pp.
63-91. 567
Name Index
597
|
| adam_txt |
Contents
Acknowledgements
vii
Introduction
ix
PART I CONTEXTS FOR ADDRESSING TEXTS
Theory
1
Philip
Tagg
(1989),
'"Black music", "Afro-American music", and "European
music'", Popular Music,
8,
pp.
285-98. 5
2
Gino
Stefani
(1987),
'A Theory of Musical Competence',
Semiotica,
66,
pp.
7-22. 19
3
International Advisory Editors
(2005),
'Can we get rid of the
"populať'in
Popular
Music? A Virtual Symposium with Contributions from the International Advisory
Editors of Popular Music, Popular Music,
24,
pp.
133-45. 35
4
Franco
Fabbri
(1999),
'Browsing Music Spaces: Categories and the Musical
Mind', http://tagg.org/xpdfs/ffabbri990717.pdf. pp.
1-14. 49
5
Dai Griffiths
(1999),
'The High Analysis of Low Music', Music Analysis,
18,
pp.
389-435. 63
6
Andrew Chester
(1970),
'Second Thoughts on a Rock Aesthetic: The Band', New
Left Review,
62,
pp.
75-82.
Ill
7
Sean McCann
(1996),
'Why I'll Never Teach
Rock'n'Roll
Again', Radical
History Review,
66,
pp.
191-202. 119
8
Allan Moore
(2002),
'Authenticity as Authentication', Popular Music,
21,
pp.
209-23. ' 131
9
Serge
Laçasse
(2000),
'Intertextuality and Hypertextuality in Recorded Popular
Music', in Michael
Talbot (ed.),
The Musical Work: Reality or Invention?,
Liverpool: Liverpool University Press, pp.
35-58. 147
10
Philip
Tagg
(1994),
'From Refrain to Rave: The Decline of Figure and the Rise of
Ground', Popular Music,
13,
pp.
209-22. 171
11
Adam
Krims
(2003),
'What does it Mean to Analyse Popular Music?', Music
Analysis,
22,
pp.
181-209. 185
Music Theory
12
Ronald Byrnside
(1975),
'The Formation of a Musical Style: Early Rock',
in C.
Hamm,
В.
Netti,
and
R.
Byrnside, Contemporary Music and Music Cultures,
Englewood Cliffs, NJ: Prentice-Hall, pp.
159-92. 217
13
Peter K.
Winkler (1978),
'Toward a Theory of Popular Harmony', In Theory
Only,
4,
pp.
3-26. 251
vi
Critical Essays in Popular Musicology
14
Alf Björnberg
(1989),
'On Aeolian Harmony in Contemporary Popular Music',
Göteborg:
IASPM
-
Nordic Branch Working Papers, no. DK
1,
pp.
1-8. 275
15
Allan Moore
(1995),
'The so-called "flattened seventh" in Rock', Popular Music,
14,
pp.
185-202. 283
16
Walter Everett
(2004),
'Making Sense of Rock's Tonal Systems', Music Theory
Online,
10,
[pp.
1-35]. 301
17
Derek B. Scott
(1994),
'Incongruity and Predictability in British Dance Band
Music of the
1920s
and
1930s',
Musical Quarterly,
78,
pp.
290-315. 337
18
Robert
Walser (1995),
'Rhythm, Rhyme and Rhetoric in the Music of Public
Enemy', Ethnomusicology,
39,
pp.
193-217. 363
PART II ADDRESSING TEXTS
19
Walter Everett
(1986),
'Fantastic Remembrance in John Lennon's "Strawberry
Fields Forever" and "Julia"', Musical Quarterly,
72,
pp.
360-85. 391
20
John R. Covach
(1991),
'The Rutles and the Use of Specific Models in Musical
Satire', Indiana Theory Review,
11,
pp.
119-44. 417
21
Carol Vernallis
(1998),
'The Aesthetics of Music Video: An Analysis of
Madonna's "Cherish"', Popular Music,
17,
pp.
153-85. 443
22
Charles Ford
(1995),
'"Gently Tender": the Incredible String Band's Early
Albums', Popular Music,
14,
pp.
175-83. 477
23
Nicky Losseff
(1999),
'Cathy's Homecoming and the Other World: Kate Bush's
"Wuthering
Heights'", Popular Music,
18,
pp.
227-40. 487
24
Nicola Dibben
(2001),
'Pulp, Pornography and Spectatorship: Subject Matter
and Subject Position in Pulp's This is Hardcore', Journal of the Royal Musical
Association,
126,
pp.
83-106. 501
25
Fred E.
Maus (2001),
'Glamour and Evasion: the Fabulous Ambivalence of the
Pet Shop Boys', Popular Music,
20,
pp.
379-93. 525
26
Elizabeth Eva Leach
(2001),
'Vicars of "Wannabe": Authenticity and the Spice
Girls', Popular Music,
20,
pp.
143-68. 541
27
Barbara Bradby
(2002),
'Oh, Boy! (Oh, Boy!): Mutual Desirability and Musical
Structure in the Buddy Group',
PopM/ör-MMs/c, 21,
pp.
63-91. 567
Name Index
597 |
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| publisher | Ashgate |
| record_format | marc |
| spelling | Critical essays in popular musicology ed. by Allan F. Moore Aldershot [u.a.] Ashgate 2007 XXII, 608 S. Ill., graph. Darst., Notenbeisp. 25 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index This reference work reproduces in facsimile form many of the most important and innovative journal articles and papers in the field, along with an introductory overview by the editor, Allan F. Moore. Geschichte gnd rswk-swf Musique populaire ram Popular music History and criticism Musiktheorie (DE-588)4040876-0 gnd rswk-swf Musikwissenschaft (DE-588)4130526-7 gnd rswk-swf Popmusik (DE-588)4046781-8 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Popmusik (DE-588)4046781-8 s Geschichte z DE-604 Musikwissenschaft (DE-588)4130526-7 s Musiktheorie (DE-588)4040876-0 s Moore, Allan F. Sonstige (DE-588)128408138 oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015921389&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Critical essays in popular musicology Musique populaire ram Popular music History and criticism Musiktheorie (DE-588)4040876-0 gnd Musikwissenschaft (DE-588)4130526-7 gnd Popmusik (DE-588)4046781-8 gnd |
| subject_GND | (DE-588)4040876-0 (DE-588)4130526-7 (DE-588)4046781-8 (DE-588)4143413-4 |
| title | Critical essays in popular musicology |
| title_auth | Critical essays in popular musicology |
| title_exact_search | Critical essays in popular musicology |
| title_exact_search_txtP | Critical essays in popular musicology |
| title_full | Critical essays in popular musicology ed. by Allan F. Moore |
| title_fullStr | Critical essays in popular musicology ed. by Allan F. Moore |
| title_full_unstemmed | Critical essays in popular musicology ed. by Allan F. Moore |
| title_short | Critical essays in popular musicology |
| title_sort | critical essays in popular musicology |
| topic | Musique populaire ram Popular music History and criticism Musiktheorie (DE-588)4040876-0 gnd Musikwissenschaft (DE-588)4130526-7 gnd Popmusik (DE-588)4046781-8 gnd |
| topic_facet | Musique populaire Popular music History and criticism Musiktheorie Musikwissenschaft Popmusik Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015921389&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT mooreallanf criticalessaysinpopularmusicology |