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The Cambridge companion to the Rolling Stones
The Rolling Stones are one of the most influential, prolific, and enduring Rock and Roll bands in the history of music. This groundbreaking, specifically commissioned collection of essays provides the first dedicated academic overview of the music, career, influences, history, and cultural impact of The Rolling Stones. Shining a light on the many communities and sources of knowledge about the group, this Companion brings together essays by musicologists, ethnomusicologists, players, film scholars, and filmmakers into a single volume intended to stimulate fresh thinking about the group as they vault well over the mid-century of their career. Threaded throughout these essays are album- and song-oriented discussions of the landmark recordings of the group and their influence. Exploring new issues about sound, culture, media representation, the influence of world music, fan communities, group personnel, and the importance of their revival post-1989, this collection greatly expands our understanding of their music.
Book
Schoenberg’s (Analytical) Gaze
As many scholars have pointed out, the theme of organic unity appears often in Arnold Schoenberg’s writing on music, especially in those passages that engage musical analysis. For Schoenberg, organic unity plays an important role in tracing the emergence of modernism (and ultimately twelve-tone composition) out of the German tradition from Bach to Brahms and Wagner. But even as privileging organicism supports Schoenberg’s claims to historical continuity, it also suppresses other aspects of musical structure and expression. This paper will argue that while an organicist reading is only ever a partial one, and while few pieces actually live up to the ideal that the aesthetics of organicism celebrate, the aesthetic lens of organicism (“Schoenberg’s analytical gaze”) nevertheless produces rich and compelling interpretations of the music, especially when understood within the context of Friedrich Nietzsche’s notion of perspectivism (The Will to Power). Schoenberg’s gaze may be partial, but it is also powerful.
Journal Article
Analyzing Popular Music
How do we know music? We perform it, we compose it, we sing it in the shower, we cook, sleep and dance to it. Eventually we think and write about it. This book represents the culmination of such shared processes. Each of these essays, written by leading writers on popular music, is analytical in some sense, but none of them treats analysis as an end in itself. The books presents a wide range of genres (rock, dance, TV soundtracks, country, pop, soul, easy listening, Turkish Arabesk) and deals with issues as broad as methodology, modernism, postmodernism, Marxism and communication. It aims to encourage listeners to think more seriously about the 'social' consequences of the music they spend time with and is the first collection of such essays to incorporate contextualisation in this way.
eBook
To MOOC or Not To MOOC?
(1) The development of radio and television in the twentieth century, and then the rise of the internet over the last twenty years, has made it possible to conduct courses with far less time lag than was present in the early days of distance learning, when lessons and assignments were carried by surface mail. [...]History of Rock Part 1 runs seven weeks, while History of Rock Part 2 is six weeks in length.
Journal Article
Understanding rock : essays in musical analysis
Amid the recent increase in scholarly attention to rock music, Understanding Rock stands out as one of the first books that subjects diverse aspects of the music itself to close and sophisticated analytical scrutiny. Written by some of the best young scholars in musicology and music theory, the essays in this volume use harmonic, melodic, rhythmic, formal, and textual approaches in order to show how and why rock music works as music. Topics of discussion include the adaptation of blues and other styles to rock; the craft of songwriting; techniques and strategies of improvisation; the reinterpretation of older songs; and the use of the recording studio as a compositional tool. A broad range of styles and groups is covered, including Yes, the Beach Boys, Cream, k.d. lang, Paul Simon, Jimi Hendrix, and the Grateful Dead.
eBook
I don’t sound like nobody
The 1950s marked a radical transformation in American popular music as the nation drifted away from its love affair with big band swing to embrace the unschooled and unruly new sounds of rock 'n' roll. The sudden flood of records from the margins of the music industry left impressions on the pop soundscape that would eventually reshape long-established listening habits and expectations, as well as conventions of songwriting, performance, and recording. When Elvis Presley claimed, \"I don't sound like nobody,\" a year before he made his first commercial record, he unwittingly articulated the era's musical Zeitgeist. The central story line of I Don't Sound Like Nobody is change itself. The book's characters include not just performers but engineers, producers, songwriters, label owners, radio personalities, and fans—all of them key players in the decade's musical transformation. Written in engaging, accessible prose, Albin Zak's I Don't Sound Like Nobody approaches musical and historical issues of the 1950s through the lens of recordings and fashions a compelling story of the birth of a new musical language. The book belongs on the shelf of every modern music aficionado and every scholar of rock 'n' roll.
eBook
