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There is a well-developed vocabulary for discussing classical music, but when it comes to popular music, how do we analyze its effects and its meaning? David Brackett draws from the disciplines of cultural studies and music theory to demonstrate how listeners form opinions about popular songs, and how they come to attribute a rich variety of meanings to them. Exploring several genres of popular music through recordings made by Billie Holiday, Bing Crosby, Hank Williams, James Brown, and Elvis Costello, Brackett develops a set of tools for looking at both the formal and cultural dimensions of popular music of all kinds.
David Brackett is Assistant Professor of Music at SUNY, Binghamton.
Preface1 IntroductionPreludeI. Codes and competencesII. Who is the author?III. Musicology and popular musicIV. Postlude2 Family values in music? Billie Holiday's and Bing Crosby's"I'll Be Seeing You"I. A tale of two (or three) recordingsII. Critical discourseIII. Biographical discourseIV. Style and historyV. Performance, effect, and affect3 When you're lookin' at Hank (you're looking at country)I. Lyrics, metanarratives, and the great authenticity debateII. Sound, performance, gender, and the hanky-tonkIII. "A feeling called the blues"IV. The emergence of "country-western"4 James Brown's "Superbad" and the double-voiced utteranceI. The discursive space of black musicII. Signifyin(g)-words and performanceIII. Musical signifyin(g)5 Writing, music, dancing, and architecture in Elvis Costello's"Pills and Soap"I. The "popular aesthetic"II. Style and aestheticsIII. Interpretation and (post)modern popIV. A question of influence6 Afterword: the citizens of SimpletonAppendixA. Reading the spectrum photosB. Registral terminologyNotesBibliographySelect discographyIndex
