By Allan F. Moore
How can we "know" track? 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 ebook represents the fruits of such shared approaches. Portraying quite a lot of genres (rock, dance, television soundtracks, kingdom, 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
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. Our textbooks record not any reasonable history of twentiethcentury music but rather the history that some composers and musicologists wish had happened.
Also, people in some simple sense know the words: I have a tape of Oasis performing at Knebworth on which an audience in the dozens of thousands sings along with every word of every song. ’ (Frith 1988) is not entirely superseded by the chapter in Frith 1996. I suspect his sceptical attitude is revealed in a little footnote to the latter book: ‘words have always been the least of my musical pleasures’ (1996: 326, n. 47). 4 350 is a guess based on the albums. See Heylin (1996: 209–14) for an index.
It seems to go without saying that Kenny G is not a good sax player; even those who eschew violent imagery speak of, for example, ‘fairly mediocre skills as a saxophonist’, which are used to produce ‘a long lineup of soupy ballads, played with quivering emotionalism by G’s thin-toned soprano and tenor saxophones’ (Heckman 1996: 6). As a sax player myself, I think it’s clear that Kenny G’s worth cannot be decided at the level of technique; he is in fact a virtuoso of a particular kind. His intonation is ﬂawless, even on the treacherous soprano sax.
Analyzing Popular Music by Allan F. Moore