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. ultimately we predict and write approximately it. This ebook represents the fruits of such shared tactics. Portraying quite a lot of genres (rock, dance, television soundtracks, kingdom, pop, soul, effortless listening, Turkish Arabesk), the essays conceal technique, modernism, postmodernism, Marxism and verbal exchange.
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Additional info for Analyzing Popular Music
29 robert walser There is much more that could be said about those features, of course. We might dwell on the deft use of poignant 4–3 suspensions, on how the singer places his lyrics with rhythmic and accentual nuance, or on the pauses that occasionally interrupt the steady pace of the song – moments to reﬂect, or to draw a breath and prepare to go on. Once when I discussed this song during a public lecture, someone who turned out to be a bluegrass musician pointed out that the acoustic guitar playing that I had described as simple was in fact quite a complicated bit of ﬁnger-picking.
Millions of people liked it – millions of people like ﬁsh and chips – but it didn’t matter. Dylan made it matter’ (Gray 1981: 115). To cut a very long story short, I concur with Frith’s evaluation of the romanticized reading of rock lyrics. I would also suggest, ﬁrst, that the general drift of rock lyrics has indeed been towards a genuinely more romanticized melopoetic, a conception of the rock lyric which depended less on rectitude and more on individualized statement; and, second, that the great mistake of over-hyping rock poetry was that it was taken to be sufﬁcient ground for not attending to the words at all.
5 Elsewhere, for what it’s worth, Dylan said in a 1965 interview that ‘words are just as important as the music. There would be no music without the words’ (Miles 1978: 65, 69). 6 On sociologists and music, see Martin (1995: 12). 7 ‘Of course, the lyric was stupid and sexist but when you’re dancing this hard, it can take a couple of years to notice’ (Marsh 1989: 322 on the Rolling Stones’ ‘Honky Tonk Women’). 40 from lyric to anti-lyric: analyzing the words in pop song battles simply in getting their colleagues to take pop music remotely seriously.