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The musicological study of popular music has developed, particularly over the past twenty years, into an established aspect of the discipline. The academic community is now well placed to discuss exactly what is going on in any example of popular music and the theoretical foundation for such analytical work has also been laid, although there is as yet no general agreement over all the details of popular music theory. However, this focus on the what of musical detail has left largely untouched the larger question - so what? What are the consequences of such theorization and analysis? Scholars from outside musicology have often argued that too close a focus on musicological detail has left untouched what they consider to be more urgent questions related to reception and meaning. Scholars from inside musicology have responded by importing into musicological discussion various aspects of cultural theory. It is in that tradition that this book lies, although its focus is slightly different. What is missing from the field, at present, is a coherent development of the what into the so what of music theory and analysis into questions of interpretation and hermeneutics. It is that fundamental gap that this book seeks to fill. Allan F. Moore presents a study of recorded popular song, from the recordings of the 1920s through to the present day. Analysis and interpretation are treated as separable but interdependent approaches to song. Analytical theory is revisited, covering conventional domains such as harmony, melody and rhythm, but does not privilege these at the expense of domains such as texture, the soundbox, vocal tone, and lyrics. These latter areas are highly significant in the experience of many listeners, but are frequently ignored or poorly treated in analytical work. Moore continues by developing a range of hermeneutic strategies largely drawn from outside the field (strategies originating, in the most part, within psychology and philosophy) but still deeply r

The SNPs identified thus far signal important chromosomal \"neighborhoods,\" but future fine-mapping studies and functional gene assessments will be necessary to pinpoint the true underlying causal mechanisms. [...] because current genotyping techniques do not address structural variants (e.g., copy number polymorphisms), have not captured rare variants, and have left as much as 20% of common SNPs in the genome suboptimally covered (with a higher percentage of uncovered regions in the more diverse African population), the full genetic architecture of type 2 diabetes remains largely unexplored. 2 Given the relatively large sample sizes of collaborative GWA studies published to date, we are unlikely to find new polymorphisms with effect sizes as large or larger than TCF7L2 rs7903146 (at least among populations of European ancestry).

Extension of Type 2 Diabetes Genome-Wide Association Scan Results in the Diabetes Prevention Program Allan F. Moore 1 2 3 4 † , Kathleen A. Jablonski 5 , Jarred B. McAteer 1 4 , Richa Saxena 1 4 , Toni I. Pollin 6 , Paul W. Franks 7 , Robert L. Hanson 8 , Alan R. Shuldiner 6 , William C. Knowler 8 , David Altshuler 1 2 3 4 9 , Jose C. Florez 1 2 3 4 and for the Diabetes Prevention Program Research Group 1 Center for Human Genetic Research, Department of Medicine, Massachusetts General Hospital, Boston, Massachusetts 2 Diabetes Center, Department of Medicine, Massachusetts General Hospital, Boston, Massachusetts 3 Department of Medicine, Harvard Medical School, Boston, Massachusetts 4 Program in Medical and Population Genetics, Broad Institute of Harvard and Massachusetts Institute of Technology, Cambridge, Massachusetts 5 The Biostatistics Center, George Washington University, Rockville, Maryland 6 Department of Medicine, Division of Endocrinology, Diabetes, and Nutrition, University of Maryland School of Medicine, Baltimore, Maryland 7 Genetic Epidemiology and Clinical Research Group, Department of Public Health and Clinical Medicine, Division of Medicine, Umeå University Hospital, Umeå, Sweden 8 Diabetes Epidemiology and Clinical Research Section, National Institute of Diabetes and Digestive and Kidney Diseases, Phoenix, Arizona 9 Department of Genetics, Harvard Medical School, Boston, Massachusetts Corresponding author: Jose C. Florez, dppmail{at}biostat.bsc.gwu.edu Abstract OBJECTIVE— Genome-wide association scans (GWASs) have identified novel diabetes-associated genes. We evaluated how these variants impact diabetes incidence, quantitative glycemic traits, and response to preventive interventions in 3,548 subjects at high risk of type 2 diabetes enrolled in the Diabetes Prevention Program (DPP), which examined the effects of lifestyle intervention, metformin, and troglitazone versus placebo. RESEARCH DESIGN AND METHODS— We genotyped selected single nucleotide polymorphisms (SNPs) in or near diabetes-associated loci, including EXT2 , CDKAL1 , CDKN2A/B , IGF2BP2 , HHEX , LOC387761, and SLC30A8 in DPP participants and performed Cox regression analyses using genotype, intervention, and their interactions as predictors of diabetes incidence. We evaluated their effect on insulin resistance and secretion at 1 year. RESULTS— None of the selected SNPs were associated with increased diabetes incidence in this population. After adjustments for ethnicity, baseline insulin secretion was lower in subjects with the risk genotype at HHEX rs1111875 ( P = 0.01); there were no significant differences in baseline insulin sensitivity. Both at baseline and at 1 year, subjects with the risk genotype at LOC387761 had paradoxically increased insulin secretion; adjustment for self-reported ethnicity abolished these differences. In ethnicity-adjusted analyses, we noted a nominal differential improvement in β-cell function for carriers of the protective genotype at CDKN2A/B after 1 year of troglitazone treatment ( P = 0.01) and possibly lifestyle modification ( P = 0.05). CONCLUSIONS— We were unable to replicate the GWAS findings regarding diabetes risk in the DPP. We did observe genotype associations with differences in baseline insulin secretion at the HHEX locus and a possible pharmacogenetic interaction at CDKNA2/B . Footnotes Published ahead of print at http://diabetes.diabetesjournals.org on 10 June 2008. Clinical trial reg. no. NCT00004992, clinicaltrials.gov. A complete list of Diabetes Prevention Program Research Group investigators is provided in the online appendix available at http://dx.doi.org/10.2337/db08-0284 . † † Dr. Allan F. Moore passed away on 24 July 2008. This article, to which he contributed his privileged intellect and unwavering enthusiasm, is dedicated to his memory. His colleagues and peers will miss him. Readers may use this article as long as the work is properly cited, the use is educational and not for profit, and the work is not altered. See http://creativecommons.org/licenses/by-nc-nd/3.0/ for details. The costs of publication of this article were defrayed in part by the payment of page charges. This article must therefore be hereby marked “advertisement” in accordance with 18 U.S.C. Section 1734 solely to indicate this fact. Accepted June 1, 2008. Received February 28, 2008. DIABETES

Ewan MacColl is widely recognized as a key figure in the English folk revival, who tried to convey traditional music to a mass audience. Dominant in the movement during the 1950s and much of the 1960s, his position has come under attack in more recent years from some scholars. While it would be arrogant to claim to 'set the record straight', this book will contribute significantly to the debate surrounding MacColl's importance. MacColl gave two extended interviews with co-editor Giovanni Vacca in 1987 and 1988, not long before his death, and these provide the impetus for a re-examination of his methods, his politics and his aesthetic aims. The book also provides critical overviews of MacColl's activities in the revival and of his practices, particularly as writer and singer. The time is ripe for such a contribution, following Peter Cox's study of the Radio Ballads, and in the context of biographies by Joan Littlewood and Frankie Armstrong. The contributions locate MacColl in his own historical context, attempting to understand some of the characteristic techniques through which he was able to write and sing such extraordinary songs, which capture so well for others the detail and flavour of their lives. Great emphasis is placed on the importance of seeing MacColl as not only a British, but a European folk activist, through discussion of his hitherto barely known work in Italy, enabling a re-contextualization of his work within a broader European context. The interviews themselves are fluent and fascinating narrations in which MacColl discusses his life, music, and experiences in the theatre and in the folk music revival as well as with a series of issues concerning folk music, politics, history, language, art and other theoretical issues, offering a complete description of all the repertories of the British Isles. Peggy Seeger contributes a Foreword to the collection.

Allan Moore presents a study of recorded popular song, from the recordings of the 1920s through to the present day. Analysis and interpretation are treated as separable but interdependent approaches to song. Analytical theory is revisited, covering conventional domains such as harmony, melody and rhythm, but does not privilege these at the expense of domains such as texture, the soundbox, vocal tone, lyrics. Moore continues by developing a range of hermeneutic strategies largely drawn from outside the field (in the most part, within psychology and philosophy) but still deeply relevant to the experience of song.

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.

When a stereophonic track is heard through headphones or over loudspeakers, the image of a virtual performance is created in the mind. This virtual performance, which exists exclusively on the record, can be conceptualised in terms of the ‘sound-box’ (Moore 1993), a four-dimensional virtual space within which sounds can be located through: lateral placement within the stereo field; foreground and background placement due to volume and distortion; height according to sound vibration frequency; and time. From the mid-1960s, the increasing shift from mono to stereo meant that producers and engineers had to contend with the notion and potential of a song's sonic arrangement or mix, resulting in a disparity of sonic placement and a diverse range of sound-box configurations. By 1972, a normative positioning of sound sources within the sound-box was established, which we term the ‘diagonal mix’. This article focuses on the consolidation of this norm by means of a ‘taxonomy of mixes’ and the utilisation of visual representations which detail the sound-box configurations of a variety of pop/rock, easy listening and psychedelic tracks from 1966 to 1972.