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AnalyzingPopularMusic
Howdowe‘know’music?Weperformit,wecomposeit,wesingitinthe
shower,wecook,sleepanddancetoit.Eventuallywethinkandwriteaboutit.
Thisbookrepresentstheculminationofsuchsharedprocesses.Eachofthese
essays,writtenbyleadingwritersonpopularmusic,isanalyticalinsomesense,
butnoneofthemtreatsanalysisasanendinitself.Thebookpresentsawide
rangeofgenres(rock,dance,TVsoundtracks,country,pop,soul,easy
listening,TurkishArabesk)anddealswithissuesasbroadasmethodology,
modernism,postmodernism,Marxismandcommunication.Itaimsto
encouragelistenerstothinkmoreseriouslyaboutthe‘social’consequencesof
themusictheyspendtimewithandisthefirstcollectionofsuchessaysto
incorporatecontextualizationinthisway.
allan f. mooreisProfessorofPopularMusicandHeadoftheDepartment
ofMusicandSoundRecordingattheUniversityofSurrey.Heisauthorof
Rock:ThePrimaryTextandeditorofTheCambridgeCompaniontoBluesand
GospelMusic.Heisalsoco-editorofthejournalsPopularMusicandTwentieth-
CenturyMusic.
Analyzing Popular Music
edited by allan f. moore
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo
Cambridge University Press
The Edinburgh Building, Cambridge , United Kingdom
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521771207
© Cambridge University Press 2003
This book is in copyright. Subject to statutory exception and to the provision of
relevant collective licensing agreements, no reproduction of any part may take place
without the written permission of Cambridge University Press.
First published in print format 2003
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isbn-13 978-0-511-06669-6 eBook (NetLibrary)
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isbn-10 0-511-06669-4 eBook (NetLibrary)
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isbn-13 978-0-521-77120-7 hardback
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isbn-10 0-521-77120-X hardback
Cambridge University Press has no responsibility for the persistence or accuracy of
s for external or third-party internet websites referred to in this book, and does not
guarantee that any content on such websites is, or will remain, accurate or appropriate.
Contents
Acknowledgement [vi]
Contributors [vii]
1 Introduction[1]
AllanF.Moore
2 Popularmusicanalysis:tenapothegmsandfourinstances[16]
RobertWalser
3 Fromlyrictoanti-lyric:analyzingthewordsinpopsong[39]
DaiGriffiths
4 Thesoundis‘outthere’:score,sounddesignandexoticismin
TheX-Files [60]
RobynnJ.Stilwell
5 Feelthebeatcomedown:housemusicasrhetoric[80]
StanHawkins
6 Thedeterminingroleofperformanceinthearticulationofmeaning:
thecaseof‘TryaLittleTenderness’[103]
RobBowman
7 MarxistmusicanalysiswithoutAdorno:popularmusicandurban
geography[131]
AdamKrims
8 JethroTullandthecaseformodernisminmassculture[158]
AllanF.Moore
9 Pangsofhistoryinlate1970snew-waverock[173]
JohnCovach
10 Isanybodylistening?[196]
ChrisKennett
11 Talkandtext:popularmusicandethnomusicology[218]
MartinStokes
Bibliography [240]
Discography [258]
Film/Videography [260]
Index [261]
v
Acknowledgement
PermissiontoquotetheREMsong‘Nightswimming’isgratefullyacknowl-
edgedfromWarner-Chappell.
vi
Contributors
ALLANF.MOOREisProfessorofPopularMusicandHeadofthe
DepartmentofMusicandSoundRecordingattheUniversityofSurrey.
AuthorofRock:ThePrimaryText (2ndedn2001)andTheBeatles:Sgt.
Pepper’sLonelyHeartsClubBand(1997),hehaspublishedarticleson
Yes,U2,BigCountry,theBeatles,FrankZappa,rockmusictheoryand
musicalmodernismandhascontributedextensivelytotherevisedNew
Grove.HeisajointeditorofPopularMusicandisontheeditorialboard
ofPopularMusicology.
ROBBOWMANistheauthorofSoulsvilleUSA:TheStoryofStaxRecords
whichwonthe1998ASCAP-Deems-TaylorandARSCAwardsfor
ExcellenceinMusicResearch.In1996hewontheGrammyinthe
‘BestAlbumNotes’categoryforthemonographaccompanyingthe
ten-CDboxTheCompleteStax/VoltSinglesvol.3,whichhealso
co-produced.Inthepasttenyearshehascompiledandwrittenliner
notesformorethan100CDreissues.HeisAssociateProfessorofMusic
atYorkUniversity,Toronto.
JOHNCOVACHisAssociateProfessorofMusicattheUniversityof
NorthCarolinaatChapelHill.Co-editorofUnderstandingRock(1997),
hehasalsoeditedspecialissuesofContemporaryMusicReviewandhas
writtenwidely,particularlyonProgressiveRockandonthephilosophy
ofmusic.
DAIGRIFFITHSisPrincipalLecturerinMusicatOxfordBrookes
University.HehaspublishedarticlesonsongsbyJohnCale,BobDylan,
MichelleShocked,BruceSpringsteenandAntonWebern.Otherrecent
papershaveincludedbookchaptersoncoverversionsandonthehistory
ofpopmusicsincepunk.
STANHAWKINSisAssociateProfessorofMusicologyattheDepartment
ofMusicandTheatre,UniversityofOslo,whereheteachescoursesin
popularmusic.Inadditiontohisbook,SettlingthePopScore:PopTexts
andIdentity(2002)hehaspublishednumerousarticlesandchaptersin
vii
contributors
thefieldofpopularmusicstudies.Heiscurrentlychiefeditorof
PopularMusicologyOnlineandtheNorwegianchairfortheNordic
BranchofIASPM(InternationalAssociationfortheStudyofPopular
Music).
CHRISKENNETTincludesamonghisresearchinterestspopmusic
sociology,thecognition,perceptionandanalysisofmusicinretail
environments,andfilmmusictheory,inadditiontohislong-held
interestinpitch-classsettheory.HehastaughtattheUniversitiesof
Bristol,Reading,Nottingham,Exeter,ThamesValleyandatGoldsmith’s
College,andiscurrentlyResearcherinSoundMediaattheUniversity
ofWestminster.HewritesforjournalsincludingMusicAnalysis,Popular
MusicandComputerMusicJournal.
ADAMKRIMSisAssociateProfessorofMusicandDirectoroftheInstitute
forPopularMusicattheUniversityofAlberta.AuthorofRapMusicand
thePoeticsofIdentity(2000)andeditorofMusic/Ideology:Resistingthe
Aesthetic(1998),hehaspublishednumerousessaysandarticleson
music,Marxism,urbangeographyandculturaltheory.
ROBYNNJ.STILWELLisAssistantProfessorofMusicatGeorgetown
University.Hermainresearchinterestslieinmusicasculturaltextand
intheinteractionofmusicandmovement.Shehaspublishedontopics
asdiverseasPhilCollins,DieHardandTorvillandDean,andhas
recentlyeditedaspecialissueofPopularMusicandSocietydealingwith
popularmusicandnationalandethnicidentitiesinthewakeofrecent
politicalchange.Sheiscurrentlyworkingonabook,Recontextualizing
Music:TheUseofPre-existingMusicinFilm.
MARTINSTOKESistheauthorofTheArabeskDebate:Musicand
MusiciansinModernTurkey(1992),theeditorofEthnicity,Identityand
Music:TheMusicalConstructionofPlace(1994),co-editorof
Nationalism,MinoritiesandDiasporas:IdentitiesandRightsintheMiddle
East (1996)andofaspecialissueofthejournalPopularMusiconthe
MiddleEast(1996).HehaspublishedarticlesinPopularMusic,New
Formations,TheBritishJournalofEthnomusicology,TheJournalofthe
RoyalAnthropologicalInstitute,theMiddleEastReport,theNewGrove
DictionaryofMusicandMusicians,andelsewhere.Currentlyheisan
AssociateProfessorintheDepartmentofMusicattheUniversity
ofChicago.
viii
