Analyzing Popular Music by Allan F. Moore

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. finally we predict and write approximately it. This booklet represents the end result of such shared strategies. Portraying quite a lot of genres (rock, dance, television soundtracks, state, pop, soul, effortless listening, Turkish Arabesk), the essays disguise method, modernism, postmodernism, Marxism and communique.

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What one takes to be a musical phrase is strictly speaking a musical matter, and one which it is not my aim to present here. Verbal and musical phrasing come together in aspects of rhythm: compare the discussion of musical phrasing in Lerdahl and Jackendoff (1983: 12–104) with Attridge (1995). 1. 10 I first put the concept of verbal space forward in Griffiths (1992). My thanks to Simon Frith for having dug up this obscure reference on pp. 199–200 of Performing Rites. 43 X Last X night I X X X these X Come on!

Such ‘sociological’ information is often taken to be quite distant from the concerns of musical analysis. But knowledge of these conditions of poverty and injustice is absolutely essential, because without it, the analyst cannot possibly understand why this music has taken the form it has. Killing Kenny G If it is sometimes simply assumed that violent music breeds violent actions while calm music ennobles, then one of the most striking counterexamples is saxophonist Kenny G, whose soothing music has often been denounced in the most vicious terms.

40 from lyric to anti-lyric: analyzing the words in pop song battles simply in getting their colleagues to take pop music remotely seriously. In addition, their easy and assured technical certainty in the performance and explication of notated tonal music can make talking about words seem overly risky (see Middleton 1990: 228–32 and Brackett 1995: 77–89). If anything, the negligence most interesting is that of English, or literary criticism, where going on about words in pop music runs uneasily into the criticism of poetry:8 in fact, poetry tends to be the dirty word of this subject-area, and it is worth a brief diversion to ponder why this should be the case.

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