Other 32-Bar AABA Compositions

2020 ◽  
pp. 81-118
Author(s):  
Henry Martin
Keyword(s):  
Popular Songs

Chapter 3 examines the complete 32-bar compositions Parker wrote that do not make use of rhythm changes. There are six of these, and they include his first composition (“Yardbird Suite”), one of his most admired compositions (“Confirmation”), a work that borrows from two French popular songs (“My Little Suede Shoes”), and three works that were not recorded (“Alesia,” “Throckmorton the Plumber,” and “Tail Feathers”). “Yardbird Suite” was originally titled “What Price Love?” and is his only song for which he wrote a lyric. “Confirmation” features a bridge with apparently original chord changes. The source songs for “My Little Suede Shoes” were discovered in the early 2000s. Of the unrecorded songs, only “Alesia” was definitely written by Parker.

“I’ve got you under my skin”: borderline states in couple relationships

2020 ◽  
Vol 10 (1) ◽  
pp. 59-71
Author(s):  
Perrine Moran
Keyword(s):  
The Other ◽  
Couple Relationships ◽  
Early Stages ◽  
Popular Songs ◽  
The Relationship

Many couples who come for therapy are struggling with separating from unconscious phantasies and beliefs that enmesh each partner with the other, resulting in states that popular songs powerfully epitomise. While this borderline experience is common and functional in the early stages of being in love its persistence paralyses the development of the relationship. Facing separation from and loss of illusion is a challenge couple therapists are often asked to help with. The argument is illustrated by a case, and by references to some of Cole Porter’s best known songs.

After the Rhapsody

2014 ◽  
Vol 31 (1) ◽  
pp. 91-138 ◽  
Author(s):  
Susan Neimoyer
Keyword(s):  
Compositional Style ◽  
Library Of Congress ◽  
Popular Songs ◽  
Compositional Technique ◽  
Stage Music ◽  
Rhapsody In Blue

1924 was one of the most demanding years of George Gershwin’s career. In addition to the wildly successful premiere of the Rhapsody in Blue that led to numerous additional performances of the work throughout the year, he wrote the music for three hit musicals, all of which opened during that year. Given this context, a manuscript notebook in the Gershwin Collection at the Library of Congress dating from March and April 1924 is particularly intriguing. Because this notebook contains the earliest known sketch of “The Man I Love” (one of Gershwin’s best-loved popular songs), it has been acknowledged in passing by Gershwin scholars. “The Man I Love,” however, is only one of nine short pieces in the notebook and is the only entry written in what is now defined as Gershwin’s compositional style. This article briefly addresses the entire contents of this “March–April 1924 notebook,” exploring the possibilities of what Gershwin’s purposes in writing these undeveloped works might have been. Were they unused stage music, ideas for the set of piano preludes he was writing off and on during this era, or were they exercises focused on correcting weaknesses in compositional technique uncovered while writing the Rhapsody in Blue? Whatever their purpose, the pieces in this notebook provide clues as to what Gershwin’s creative priorities may have been, as well as further insights into how Gershwin honed his musical craft.

Typology of Music in Advertising

2019 ◽  
Author(s):  
Emmanuel Mogaji
Keyword(s):  
Content Analysis ◽  
Common Element ◽  
Super Bowl ◽  
Theoretical Contribution ◽  
Popular Songs ◽  
Crucial Feature ◽  
Current Practices

Music in advertisement is influential and can be emotionally appealing, and it has become a common element and a crucial feature. The choice of which type of music used is a conscious and creative decision that needs to be strategic. While previous studies on music in advertisements have focused on popular songs, this study attempts to extend this research with a focus on the originality of the music and the level of interaction. A content analysis of UK Christmas advertisement and US Super Bowl advertisements was carried. The study introduced a new typology of music in advertisements, making a theoretical contribution by extending previous works on music in advertising. It further offers insight for current practices of the use of music, creative strategies with regards to the selection and integration of music.

Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta II pusē

Letonica ◽  
2020 ◽  
Author(s):  
Māra Grudule
Keyword(s):  
18Th Century ◽  
Musical Instrument ◽  
German Society ◽  
Original Form ◽  
Musical Life ◽  
Popular Songs ◽  
Death Of Jesus ◽  
Musical Traditions ◽  
Insight Into

The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored — the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections “Jaunas ziņģes” (New popular songs, 1774) and “Ziņģu lustes” (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo-singing with the accompaniment of some musical instrument. This is suggested, first, by how the form of the translation corresponds to the original’s form; second, by the directions, oftentimes attached to the text, that indicate the melody; and third, by the genres of the German originals cantata and song. Stender translated several compositions into Latvian including the text of the religious cantata “Der Tod Jesu” (The Death of Jesus, 1755) by composer Karl Heinrich Graun (1754–1759); songs by various composers that were widely known in German society; as well as a collection of songs by the composer Johann Gottlieb Naumann (1741–1801) that, in its original form, was published together with notation and was intended for solo-singing (female vocals) with the accompaniment of a piano. This article reveals the context of German musical life in the second half of the 18th century and explains the role of music as an instrument of education in Baltic-German and Latvian societies.

scholarly journals How to Sing for Money. The Art and Business of Singing Popular Songs Professionally

Notes ◽  
1946 ◽  
Vol 3 (4) ◽  
pp. 356
Author(s):  
C. Sumner Spalding ◽  
Charles Henderson ◽  
Charles Palmer
Keyword(s):  
Popular Songs

The shock of Hong Kong and Taiwan popular songs

1991 ◽  
Vol 15 (2) ◽  
pp. 23-32 ◽  
Author(s):  
Leng Sui‐jin
Keyword(s):  
Hong Kong ◽  
Popular Songs

Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850

2013 ◽  
Vol 10 (1) ◽  
pp. 119-149
Author(s):  
Stephen Rodgers
Keyword(s):  
Large Scale ◽  
Complex Relationship ◽  
Self Reflection ◽  
Popular Songs

This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.

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