The Sublime and the Inverted Sublime: Convergence and Divergence between Music Theory and Popular Music Discourse _Hy

2019 ◽  
Vol 26 (2) ◽  
pp. 215-250
Author(s):  
Hyunree Cho
2013 ◽  
Vol 21 (1) ◽  
pp. 40-53 ◽  
Author(s):  
Susan Fast

Popular music studies is approached from a number of disciplinary perspectives. Most recently, musicologists and music theorists have become interested in the analysis of popular music. This has sparked heated debates both within musicology and music theory, and outside it from sociologists and other cultural critics. The author traces some of that debate and argues for a popular music analysis that takes social meanings into account, using language that does not alienate those who are not professional musicians. It is argued that this is of paramount importance, since popular music is one of the most important means through which many people in the West shape their worlds.


Popular Music ◽  
1982 ◽  
Vol 2 ◽  
pp. 37-67 ◽  
Author(s):  
Philip Tagg

Popular music analysis-why? One of the initial problems for any new field of study is the attitude of incredulity it meets. The serious study of popular music is no exception to this rule. It is often confronted with an attitude of bemused suspicion implying that there is something weird about taking ‘fun’ seriously or finding ‘fun’ in ‘serious things’. Such attitudes are of considerable interest when discussing the aims and methods of popular music analysis and serve as an excellent introduction to this article.


Popular Music ◽  
1996 ◽  
Vol 15 (2) ◽  
pp. 195-216 ◽  
Author(s):  
Lars Lilliestam

The vast majority of all music ever made is played by ear. To make music by ear means to create, perform, remember and teach music without the use of written notation. This is a type of music-making that has been little observed by musicology, which has mainly been devoted to notated music. Even in the research on folk and popular music, which has expanded in the last twenty or thirty years, questions of musical practice when you play by ear are rarely treated: how do you learn to play an instrument, how do you make songs, how do you teach and learn songs and how do you conceive of music theory?


2006 ◽  
Vol 09 (01n02) ◽  
pp. 121-132 ◽  
Author(s):  
SHALEV ITZKOVITZ ◽  
RON MILO ◽  
NADAV KASHTAN ◽  
REUVEN LEVITT ◽  
AMIR LAHAV ◽  
...  

Western harmony is comprised of sequences of chords, which obey grammatical rules. It is of interest to develop a compact representation of the harmonic movement of chord sequences. Here, we apply an approach from analysis of complex networks, known as "network motifs" to define repeating dynamical patterns in musical harmony. We describe each piece as a graph, where the nodes are chords and the directed edges connect chords which occur consecutively in the piece. We detect several patterns, each of which is a walk on this graph, which recur in diverse musical pieces from the Baroque to modern-day popular music. These patterns include cycles of three or four nodes, with up to two mutual edges (edges that point in both directions). Cliques and patterns with more than two mutual edges are rare. Some of these universal patterns of harmony are well known and correspond to basic principles of music theory such as hierarchy and directionality. This approach can be extended to search for recurring patterns in other musical components and to study other dynamical systems that can be represented as walks on graphs.


Popular Music ◽  
2009 ◽  
Vol 28 (1) ◽  
pp. 105-108
Author(s):  
Emma Webster

Hosted by The University of Glasgow’s Music Department, the biennial IASPM UK & Ireland Conference, entitled ‘Problems, Disputes, Questions’, took place on 12–14 September 2008. The aim was to explore issues that have in recent years concerned and provoked discussion among IASPM members, with the three main themes of the conference being Music and National Identity, Popular Music Theory, and The Musical Experience.


Author(s):  
V. J Manzo

In this chapter, we will design some tools to aid in the discussions of concepts related to music theory. In particular, we will discuss chord progressions, scale analysis, chord analysis, mode relationships, harmonic direction of chords, and harmonization. By the end of this chapter, you will have an arsenal of tools for explaining theoretical concepts of music. Sometimes, theoretical concepts in music can be difficult to grapple with, even for professional musicians. As we discuss some different ways to address these concepts through soft ware, try to think of demonstrating the theory concept as the goal, and the Max part of it as the means of reaching the goal. This will help you to program with the goal in mind and will help the way we reach that goal, through Max, to make more logical sense. Begin with the goal in mind! Let’s quickly build a patch that allows us to play back chords. As you’ll recall, we used a patch like this in the Chapter 7: Example 2 in the EAMIR SDK. Let’s open that patch. You may also build a chord patch from scratch if you prefer. 1. Click on Extras>EAMIR from the top menu to view the main menu of the EAMIR SDK 2. In the umenu labeled Examples, click the second item 2. EAMIR _Chord_Basics.maxpat 3. Click File>Save As and save the file as chord_progressions. maxpat Suppose you wanted to discuss the chord progressions used in your favorite popular music song. Let’s pretend that the chord progression is 1, 5, 6, 4 (I V vi IV) in the key of C Major (C, G, A minor, F). We can allow the user to play through each chord in the progression by entering these chords into a coll.


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