Critical Essays in Popular Musicology is an essential reference work which 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 Moore. The volume is designed to improve access to the most significant, concise English-language writing, which articulates and demonstrates some of the key constituents of a popular musicology. It avoids those pieces which have been published in other collections. The essays are divided into two parts - those that articulate the key questions of popular musicology, which discuss contexts for addressing texts, and those that demonstrate the discipline in practice, which actually address those texts. This is a valuable volume for libraries expanding their collections in musicology and popular music studies and will provide scholars and graduate students with a convenient and authoritative reference source.
Table of Contents
Contents: Introduction; Part I Contexts for Addressing Texts: Theory: 'Black music', 'Afro-American music', and 'European music', Philip Tagg; A theory of musical competence, Gino Stefani; Can we get rid of the 'popular' in popular music?, a virtual symposium with contributions from the international advisory editors of Popular Music, Various; Browsing musical spaces: categories and the musical mind, Franco Fabbri; The high analysis of low music, Dai Griffiths; Second thoughts on a rock aesthetic: The Band, Andrew Chester; Why I'll never teach rock 'n' roll again, Sean MacCann; Authenticity as authentication, Allan Moore; Intertextuality and hypertextuality in recorded popular music, Serge Lacasse; From refrain to rave: the decline of figure and the rise of ground, Philip Tagg; What does it mean to analyse popular music?, Adam Krims; Music Theory: The formation of a musical style:early rock, Ronald Byrnside; Toward a theory of popular harmony, Peter K. Winkler; On aeolian harmony in contemporary popular music, Alf BjÃ¶rnberg; The so-called 'flattened seventh' in rock, Allan Moore ; Making sense of rock's tonal systems, Walter Everett; Incongruity and predictability in British dance-band music of the 1920s and 1930s, Derek B. Scott; Rhythm, rhyme and rhetoric in the music of Public Enemy, Robert Walser. Part II Addressing Texts: Fantastic remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia', Walter Everett; The Rutles and the use of specific models in musical satire, John R. Covach; The aesthetics of music video: an analysis of Madonna's 'Cherish', Carol Vernallis; 'Gently tender': the Incredible String Band's early albums, Charlie Ford; Cathy's homecoming and the other world: Kate Bush's 'Wuthering Heights', Nicky Losseff; Pulp, pornography and spectatorship: subject matter and subject position in Pulp's 'This is Hardcore', Nicola Dibben; Glamour and evasion: the fabulous ambivalence of the Pet Shop Boys, Fred E. Maus; Vicars of 'wannabe': authenticity and the Spice Girls, Elizabeth Eva Leach ; Oh Boy! (Oh Boy!): mutual desirability and musical structure in the buddy group, Barbara Bradby; Name index.
Allan F. Moore is Professor of Popular Music at the University of Surrey, UK. He is best known for his research in the musicology of popular music and as the author and editor of a number of books including Rock: The Primary Text (Ashgate, 2001), Cambridge Companion to Blues and Gospel Music (CUP, 2003), Analyzing Popular Music (CUP, 2003) and Jethro Tull: Aqualung (Continuum, 2004). He is also on the editorial board of the journal Popular Music as well as founder member of the new journal, twentieth-century music.
'...an exceptional collection of writings from the emerging field of popular music studies...a useful reference source...' Fontes Artis Musicae