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
This thoroughly revised third edition of Allan F. Moore's ground-breaking book, now co-authored with Remy Martin, incorporates new material on rock music theory, style change and the hermeneutic method developed in Moore’s Song Means (2012). An even larger array of musicians is discussed, bringing the book right into the 21st century. Rock's 'primary text' – its sounds – is the focus of attention here. The authors argue for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock, punk rock, metal and subsequent styles. They also explore the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.
This thoroughly revised third edition of Allan F. Moore's ground-breaking book, now co-authored with Remy Martin, incorporates new material on rock music theory, style change and the hermeneutic method developed in Moore¿s Song Means (2012). An even larger array of musicians is discussed, bringing the book right into the 21st century. Rock's 'primary text' ¿ its sounds ¿ is the focus of attention here. The authors argue for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock, punk rock, metal and subsequent styles. They also explore the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.
Formed in 1968, Jethro Tull are one of rock's most enduring bands. Their 1971 album Aqualung, with its provocative lyrical content and continuous music shifts, is Tull's most successful and most misunderstood record. Here, music professor and fan Allan Moore tackles the album on a track-by-track basis, looking at Ian Anderson's lyrics and studying the complex structures and arrangements of these classic songs. EXCERPT It was buying your first great-coat that did it. That image of a crazy, probably dangerous individual with unkempt hair, strangely wandering eyes and an inability to keep both feet on the floor at the same time, as seen on Top of the Pops when Jethro Tull and his anonymous backing musicians performed ‘Witch's Promise' in 1970, remains to this day one of the most striking I can recall. And when the great-coat appeared in all its glory clothing Jethro's alter ego on the cover of Aqualung, it was clear to us that we were insiders, that we lived in exactly the same crazy world, that we ‘knew what it was all about', even if we actually hadn't a clue.
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
Existing books on the analysis of popular music focus on theory and methodology, and normally discuss parts of songs briefly as examples. The impression often given is that songs are being chosen simply to illuminate and exemplify a theoretical position. In this book the obverse is true: songs take centre stage and are given priority. The authors analyse and interpret them intensively from a variety of theoretical positions that illuminate the song. Thus, methods and theories have to prove their use value in the face of a heterogeneous, contemporary repertoire. The book brings together researchers from very different cultural backgrounds and encourages them to compare their different hearings and to discuss the ways in which they make sense of specific songs. All songs analysed are from the new millennium, most of them not older than three years. Because the most widely popular styles are too often ignored by academics, this book aims to shed light on how million sellers work musically. Therefore, it encompasses a broad palette, highlighting mainstream pop (Lady Gaga, Ke$ha, Lucenzo, Amy McDonald), but also accounting for critically acclaimed ’indie’ styles (Fleet Foxes, Death Cab for Cutie, PJ Harvey), R&B (Destiny’s Child, Janelle Monae), popular hard rock (Kings of Leon, Rammstein), and current electronic music (Andrés, Björk). By concentrating on 13 well-known songs, this book offers some model analyses that can very easily be studied at home or used in seminars and classrooms for students of popular music at all academic levels.
This thoroughly revised second edition of Allan Moore's ground-breaking book features new sections on melody, Britpop, authenticity, intertextuality, and an extended discussion of texture. Rock's 'primary text' - its sounds - is the focus of attention here. Allan Moore argues for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock and subsequent styles. He also explores the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.
This title was first published in 2001: Revised to respond to developments within the discipline and with new material added to reflect the author's and others' further work in this field, this book's focus remains British rock. Its aims are: to establish analytic criteria for rock as a whole; to provide a historicized discussion of British rock; and to enable a critical re-evaluation of progressive rock itself. This book has been written in the conviction that, with "rock" criticism and commentary in general, insufficient attention is paid to what the author calls the "primary text" - that constituted by the sounds themselves, as opposed to commentaries on them. In the first chapter, Allan Moore argues for the development of a musicology particular to rock, which may share aspects of established musicology, but which acknowledges that rock differs in its purposes, publics and aims. The primary elements of such a musicology are then laid out in Chapter 2. Next, there are critiques of rock myths of authenticity and unmediated expression. These are centred on the ideological appropriation of the ethos and techniques of the "blues", and extend to discussions of a range of more recent rock styles. The crucial role played by authenticity in the reception of rock is considered at more length in Chapter 5.
This thoroughly revised third edition of Allan F. Moore's ground-breaking book, now co-authored with Remy Martin, incorporates new material on rock music theory, style change and the hermeneutic method developed in Moore’s Song Means (2012). An even larger array of musicians is discussed, bringing the book right into the 21st century. Rock's 'primary text' – its sounds – is the focus of attention here. The authors argue for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock, punk rock, metal and subsequent styles. They also explore the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.
Allan Andrade...has conducted his own investigation of the Leopoldville incident. ...The American, British and Belgian governments engaged in a cover-up, filed the papers away as secret... Dennis Hevesi, The New York Times ...This story should hold a special place in every state’s history. Simply put, the soldiers that lost their lives deserve the proper respect and remembrance for their sacrifice, and those that survived need to be recognized for their valor. New York City Congressman Gary L. Ackerman ...On behalf of the residents of New York City I express my appreciation to Allan Andrade...for researching and writing a book on this tragedy. New York City Mayor Rudolph W. Giuliani With skills developed over 20 years as a New York City Police investigative lieutenant he started digging into the dusty, hidden files with the tenacity of a real-life Columbo. ...Andrade tracked down not only survivors but also relatives of the victims: sons, daughters, brothers, sisters, wives. ...Andrade had the difficult task of telling the truth about the sinking of the SS Leopoldville and finding again that it is not for the dead that we grieve but for the living. Reuters Television Investigative Reporter, Lawrence Bond Retired NYC Police Lieutenant Allan Andrade has investigated and put together the facts and poignant individual stories of the Leopoldville disaster. Future historians of this incident will be compelled to use his research as a starting point for their own work. Originally published in 1997, the book has been revised to include new material and photographs. Allan Andrade was the American historical consultant for a TV documentary regarding the Leopoldville disaster. The documentary was produced by Norther Sky Entertainment Ltd., Toronto, Canada during 2008. I was flown to England & revisited the sites directly connected to the tragedy. He was aboard a research vessel directly over the wreck when professional divers dove to film it. He also visited Cherbourg, France, destination of the Leopoldville and Normandy American Cemetery where some of the Leopoldville victims are buried. With him were a Leopoldville survivor & 2 relatives of 2 different soldiers who were killed. ( one where body recovered & one where body never found.) The program, Deep Wreck Mysteries:Sunk on Christmas Eve, aired on the National Geographic Channel during February 2009.
Turn to the field's definitive text for a thoroughunderstanding of the clinical and scientific aspects of pulmonary medicine Since 1980, Fishman's Pulmonary Diseases and Disorders has delivered unparalleled coverage of pulmonary medicine and the underlying basic and applied science upon which clinical practice is based. The Fifth Edition, with 270 contributing authors, includes over 2,000 illustrations, 60 videos, and 18,000 references. The book opens with a comprehensive overview of the scientific basis of lung function in health and disease. It then provides detailed coverage of the broad array of diseases and disorders affecting the respiratory system, including obstructive and restrictive diseases, pulmonary vascular disorders, sleep-disordered breathing, lung neoplasms,respiratory infections, and respiratory failure, among others. The Fifth Edition has been completely updated to reflect the many advancements that have been made in pulmonary medicine over the past few years, including: Molecular development of the lung Stem cells and respiratory disease Genetics of pulmonary disease and the growth of personalized medicine Technical advances in lung transplantation Growth in immunology and immunosuppressive management Diagnosis and treatment of pulmonary hypertension Circadian rhythms and sleep biology Rapid evolution in lung imaging techniques, including functional imaging Contemporary interventional bronchoscopic techniques You will also find state-of-the-art coverage of thelatest topics in critical care medicine, including: Early diagnosis and management of sepsis Multiple organ dysfunction syndrome (MODS) Acute respiratory distress syndrome (ARDS) Management of agitation and delirium in the ICU The newly defined entity of "chronic critical illness
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