By Allan F. Moore
How will we "know" song? We practice it, compose it, sing it within the bathe; prepare dinner, sleep and dance to it. ultimately we predict and write approximately it. This e-book represents the end result of such shared techniques. Portraying a variety of genres (rock, dance, television soundtracks, state, pop, soul, effortless listening, Turkish Arabesk), the essays disguise method, modernism, postmodernism, Marxism and conversation.
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Extra info for Analyzing Popular Music
Profound simplicity By way of exploring some of the implications of these ideas, I want to examine brieﬂy four contrasting recordings, all of which were released around the same time, 1991–92. Much more could be said than I will say here about all four, in terms of both the conventions they exemplify and the jazz traditions that in recent decades has [sic] increasingly vied for the attention of the music historian. Partial redress is offered, however, in the repeated consideration of such repertoires for the composer of art music’ (pp.
The safesurfer rides a wave between emotion and truth: full of feeling he may be, but what someone listening to him needs to know is the fact of his experience. What bothers sociologists about the words of pop songs is any presupposition that songs ‘have inherent meanings which can be objectively identiﬁed, that the meaning of lyrics can be deﬁned independently of their music, and that such cultural messages are effectively transmitted and received’. Peter J. Martin: ‘none of these assumptions is easy to defend’ (Martin 1995: 264).
With debates over censorship typically following as the answer. But that’s the wrong question for musical/cultural analysis. In order to understand why these sounds have been arranged in this particular way, we must understand the context within which their composition seemed meaningful and urgent. That context is a place, the United States, at a time when the rate of infant mortality for African-American children is twice what it is for white children, and child poverty is three times as severe.
Analyzing Popular Music by Allan F. Moore