By Allan F. Moore
How will we "know" track? We practice it, compose it, sing it within the bathe; cook dinner, sleep and dance to it. finally we predict and write approximately it. This booklet represents the fruits of such shared strategies. Portraying quite a lot of genres (rock, dance, television soundtracks, nation, pop, soul, effortless listening, Turkish Arabesk), the essays disguise method, modernism, postmodernism, Marxism and conversation.
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Extra resources for Analyzing Popular Music
So we work for the most illuminating ones, drawing upon our knowledge of history and of how music works and signiﬁes. 11 11 Many philosophers and other scholars have developed critiques of objectivity. For my purposes, the most pertinent have been Lakoff and Johnson (1980) on objectivity; Marcus and Fisher (1986) on juxtaposition and Bakhtin (1981) on dialogism. 12 According to the implicit terms of this split, ninth-century French monks are ‘us’, while contemporary salsa musicians are ‘others’.
So is bill clinton’21 What is most striking about these comments is their presumption. Classical saxophone playing is an enterprise that is only tenuously established in the academy, and for good reason: it exists nowhere else, and it has virtually no audience beyond the players themselves. That classical sax players could dare to muster scorn for artists such as John Coltrane, Charlie Parker and Dexter Gordon reveals much about the power of music education to naturalize particular musical techniques and senses of entitlement without any outside corroboration.
On cultural hierarchy and popular music, see Tomlinson (1991), Gabbard (1993), Walser (1992 and 1999). All of this work makes indefensible the common distinction between ‘commercial’ and ‘art’ musics. 16 See Morgan (1991), Antokoletz (1992), Watkins (1988), Machlis (1979) and Simms (1986). Morgan mentions jazz, folk and popular musics, but says only that they have been excluded because of space constraints. Watkins remarks that ‘some readers will note the omission of a rigorous treatment of the vernacular or 26 popular music analysis: ten apothegms and four instances whose twentieth century will be taught, given limited pedagogical space and time, is a serious one, and we can no longer pretend that the answer is simple or obvious.