Table Of ContentRock Music
The Library of Essays on Popular Music
Series Editor: Allan F Moore
Titles in the Series:
Electronica, Dance and Club Music
Mark J Butler
Roots Music
Mark F De Witt
Pop Music and Easy Listening
Stan Hawkins
Non-Western Popular Music
Tony Langlois
Popular Music and Multimedia
Julie McQuinn
From Soul to Hip-Hop
Richard Mook
Rock Music
Mark Spicer
Jazz
Tony Whyton
Rock Music
Edited by
Marl< Spicer
Hunter College oft he City University ofN ew York, USA
First published 2011 by Ashgate Publishing
Published 2016 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint oft he Taylor & Francis Group, an informa business
Copyright © Mark Spicer 2011. For copyright of individual articles please refer to the
Acknowledgements.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by
any electronic, mechanical, or other means, now known or hereafter invented, including photocopying
and recording, or in any information storage or retrieval system, without permission in writing from the
publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.
Wherever possible, these reprints are made from a copy of the original printing, but these can themselves
be of very variable quality. Whilst the publisher has made every effort to ensure the quality ofthe reprint,
some variability may inevitably remain.
British Library Cataloguing in Publication Data
Rock music. - (The library of essays on popular music)
1. Rock music-History and criticism.
I. Series 11. Spicer, Mark Stuart.
781.6'6-dc22
Library of Congress Control Number: 2011932118
ISBN 9780754629566 (hbk)
Contents
Acknowledgements VII
Series Preface IX
Introduction: The Rock (Academic) Circus XI
PART I HISTORIES, AESTHETICS AND IDEOLOGIES
Bruce Baugh (1993), 'Prolegomena to Any Aesthetics of Rock Music', Journal
ofA esthetics and Art Criticism, 51, pp. 23-29. 3
2 Mark Mazullo (1997), 'Fans and Critics: Greil Marcus's Mystery Train as
Rock 'n' Roll History', Musical Quarterly, 81, pp. 145-69. 11
3 Ian Inglis (1996), 'Synergies and Reciprocities: The Dynamics of Musical and
Professional Interaction between the Beatles and Bob Dylan', Popular Music
and Society, 20, pp. 53-79. 37
4 John Covach (2006), 'The Hippie Aesthetic: Cultural Positioning and Musical
Ambition in Early Progressive Rock', Proceedings oft he International
Conference 'Composition and Experimentation in British Rock 1966-1976',
Philomusica On-line, Special Issue, [pp. 65-75]. 65
5 Nadya Zimmerman (2006), 'Consuming Nature: The Grateful Dead's
Performance of an Anticommercial Counterculture', American Music, 24,
pp. 194-216. 77
6 Kevin Holm-Hudson (2001), 'The Future is Now ... and Then: Sonic
Historiography in Post-1960s Rock', Genre, 34, pp. 243-64. 101
7 David Hesmondhalgh (1999), 'Indie: The Institutional Politics and Aesthetics
of a Popular Music Genre', Cultural Studies, 13, pp. 34-61. 123
8 Mary Ann Clawson (1999), 'When Women Play the Bass: Instrument
Specialization and Gender Interpretation in Alternative Rock Music',
Gender & Society, 13, pp. 193-210. 151
9 Deena Weinstein (2004), 'All Singers are Dicks', Popular Music and Society,
27, pp. 323-34. 169
10 Fred Maus (2006), 'Intimacy and Distance: On Stipe's Queerness', Journal of
Popular Music Studies, 18, pp. 191-214. 181
PART II SOUNDS, STRUCTURES AND STYLES
11 David Temperley (2007), 'The Melodic-Harmonic "Divorce" in Rock', Popular
Music, 26, pp. 323-42. 207
12 Nicole Biamonte (20 10), 'Triadic Modal and Pentatonic Patterns in Rock Music',
Music Theory Spectrum, 32, pp. 95-110. 227
vi Rock Music
13 Christopher Doll (2009), 'Transformation in Rock Hannony: An Explanatory
Strategy', Gamut, 2, pp. 1--44 [243-74]. 243
14 Allan F. Moore (2005), 'The Persona-Environment Relation in Recorded Song',
Music Theory Online, 11, [pp. 275-94]. 275
15 Mark Spicer (2004), '(Ac )cumulative Fonn in Pop-Rock Music', twentieth-century
music, 1, pp. 29-64. 295
16 Steve Waksman (1996), 'Every Inch of My Love: Led Zeppelin and the Problem
of Cock Rock', Journal of Popular Music Studies, 8, pp. 5-25 [331--47]. 331
17 John Brackett (2008), 'Examining Rhythmic and Metric Practices in Led
Zeppelin's Musical Style', Popular Music, 27, pp. 53-76. 349
18 Albin J. Zak Ill (2004), 'Bob Dylan and Jimi Hendrix: Juxtaposition and
Transformation "All Along the Watchtower"', Journal of the American
Musicological Society, 57, pp. 599-644. 373
19 Walter Everett (2000), 'The Learned vs. the Vernacular in the Songs of Billy
Joel', Contemporary Music Review, 18, pp. 105-29. 419
20 Jonathan Pieslak (2008), 'Sound, Text and Identity in Korn's "Hey Daddy"',
Popular Music, 27, pp. 35-52. 445
Name Index 463
Acknowledgements
The editor and publishers wish to thank the following for permission to use copyright material.
Cambridge University Press for the essays: David Temperley (2007), 'The Melodic-Harmonic
"Divorce" in Rock', Popular Music, 26, pp. 323--42. Copyright© 2007 Cambridge University
Press; Mark Spicer (2004), '(Ac )cumulative Form in Pop-Rock Music', twentieth-century
music, 1, pp. 29-64. Copyright© 2004 Cambridge University Press; John Brackett (2008),
'Examining Rhythmic and Metric Practices in Led Zeppelin's Musical Style', Popular Music,
27, pp. 53-76; Jonathan Pieslak (2008), 'Sound, Text and Identity in Korn's "Hey Daddy"',
Popular Music, 27, pp. 35-52.
Duke University Press for the essay: Kevin Holm-Hudson (2001), 'The Future is Now ... and
Then: Sonic Historiography in Post-1960s Rock', Genre, 34, pp. 243-64. Copyright© 2001
by the University of Oklahoma. All rights reserved. Reprinted by permission of the publisher,
Duke University Press.
Gianmario Borio and Serena Facci with Pavia University Press for the essay: John
Covach (2006), 'The Hippie Aesthetic: Cultural Positioning and Musical Ambition in
Early Progressive Rock', Proceedings of the International Conference 'Composition and
Experimentation in British Rock 1966-1976 ', Philomusica On-line, Special Issue, 1O pp.
http://riviste.paviauniversitypress.it/index.php/phi/issue/view/25.
John Wiley and Sons for the essays: Bruce Baugh (1993), 'Prolegomena to Any Aesthetics
of Rock Music', Journal of Aesthetics and Art Criticism, 51, pp. 23-9. Reproduced with
permission of Blackwell Publishing Ltd.; Fred Maus (2006), 'Intimacy and Distance: On
Stipe's Queerness', Journal of Popular Music Studies, 18, pp. 191-214; Steve Waksman
(1996), 'Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock', Journal of
Popular Music Studies, 8, pp. 5-25.
Music Theory Online for the essay: Allan F. Moore (2005), 'The Persona-Environment
Relation in Recorded Song', Music Theory Online, 11. http://www.mtosmt.org/issues/
mto.05.11.4/mto.05.1 I .4.moore.html.
Music Theory Society of the Mid-Atlantic for the essay: Christopher Doll (2009),
'Transformation in Rock Harmony: An Explanatory Strategy', Gamut, 2, pp. 1--44. Copyright
© 2009 Newfound Press. All rights reserved. Reprinted with permission from Gamut.
Oxford University Press for the essay: Mark Mazullo (1997), 'Fans and Critics: Greil Marcus's
Mystery Train as Rock 'n' Roll History', Musical Quarterly, 81, pp. 145-69.
viii Rock Music
Sage Publications for the essay: Mary Ann Clawson (1999), 'When Women Play the Bass:
Instrument Specialization and Gender Interpretation in Alternative Rock Music', Gender &
Society, 13, pp. 193-210. Copyright© 1999 Sociologists for Women in Society.
Taylor & Francis for the essays: Ian Inglis ( 1996), 'Synergies and Reciprocities: The Dynamics
of Musical and Professional Interaction between the Beatles and Bob Dylan', Popular Music
and Society, 20, pp. 53-79; David Hesmondhalgh (1999), 'Ind ie: The Institutional Politics
and Aesthetics of a Popular Music Genre', Cultural Studies, 13, pp. 34-61. Copyright© 1999
Routledge; Deena Weinstein (2004), 'All Singers are Dicks', Popular Music and Society, 27,
pp. 323-34; Walter Everett (2000), 'The Learned vs. the Vernacular in the Songs ofBilly Joel',
Contemporary Music Review, 18, pp. 105-29. Copyright© 2000 OPA (Overseas Publishers
Association) N.V.
University of California Press for the essays: Nicole Biamonte (20 I 0), 'Triadic Modal and
Pentatonic Patterns in Rock Music', Music Theory Spectrum, 32, pp. 95-110; Albin J. Zak
Ill (2004), 'Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation "All Along the
Watchtower"', Journal of the American Musicological Society, 57, pp. 599-644.
University of Illinois Press for the essay: Nadya Zimmerman (2006), 'Consuming Nature:
The Grateful Dead's Performance of an Anticommercial Counterculture', American Music,
24, pp. 194-216. Copyright © 2006 by the Board of Trustees of the University of Illinois.
Used with permission of the University of Illinois Press.
Every effort has been made to trace all the copyright holders, but if any have been inadvertently
overlooked the publishers will be pleased to make the necessary arrangement at the first
opportunity.
Series Preface
From its rather modest beginnings in the 1950s, the study of popular music has now developed
to such a degree that many academic institutions worldwide employ specialists in the field.
Even those that do not will often still make space on crowded higher education curricula for the
investigation of what has become not only one of the most lucrative spheres of human activity,
but one ofthe most influential on the identities of individuals and communities. Popular music
matters, and it matters to so many people, people we can only partially understand if we do
not understand their music. It is for this reason that this series is timely.
This is not the place to try to offer a definition of popular music; that is one of the purposes
of the essays collected in the volumes in this series. Through their Popular and Folk Music
series of monographs, Ashgate has gained a strong reputation as a publisher of scholarship
in the field. This Library of Essays on Popular Music is partly envisioned as a complement
to that series, focusing on writing of shorter length. But the series is also intended to develop
the volume of Critical Essays in Popular Musicology published in 2007, in that it provides
comprehensive coverage of the world's popular musics in eight volumes, each of which has a
substantial introductory essay by the volume's editor. It develops the Critical Essays volume in
that it makes overt recognition of the fact that the study of popular music is necessarily inter-
disciplinary. Thus, within the limits set by the genre coverage of each individual volume, and
by the excellence of the essays available for inclusion, each editor has been asked to keep an
eye on issues as diverse as: the popular music industry and its institutions; aspects of history
of their respective genres; issues in the theories and methodologies of study and practice;
questions of the ontologies and hermeneutics of their fields; the varying influence of different
waves of technological development; the ways markets and audiences are constructed,
reproduced and reached and, last but not least; aspects of the repertory without which there
would be no popular music to study. As a result, no disciplinary perspective is privileged.
As far as possible, no genre is privileged either. Because the study of rock largely led the
growth of popular music study, the genre has produced a very large amount of material; it
needs a volume to itself. Much writing on jazz tends to circumscribe the genre clearly arguing
that it, too, needs a volume to itself. Other forms of music have been distributed across the
remaining volumes: one on electronica; one on forms of mainstream pop (still frequently
omitted from academic surveys); one on specific North American forms which lead to hip-
hop; one on the appearance of popular music within other (particularly visual) media; and two
final volumes covering 'world' and 'roots', musics whose relationship with more obviously
industrialized forms is most particularly problematic. While this categorization of the world's
popular musics is not perfect (and is variously addressed in individual volumes), it is no worse
than any other, and it does enable the inclusion of all those academic essays we feel are worth
reproducing.
The field of study has grown to such an extent that there is now a plethora of material
available to read, and the growth of the internet makes it increasingly available. Why, then,
produce this series of essays? The issue is principally one of evaluation. Where does one
