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.

/pdf/analysing-popular-music-theory-method-and-practice-4s3kok4gnf.pdf

Analysing popular music: theory, method and practice

This article considers some ways in which the school classroom enters into, changes and complicates musical meanings, focussing particularly on the role of popular music and how it relates to classical music. I suggest that in bringing popular music into the curriculum, educators have largely ignored the informal learning practices of popular musicians. Popular music has therefore been present as curriculum content, but its presence has only recently begun to affect our teaching strategies. I examine how the adaptation of some informal popular music learning practices for classroom use can positively affect pupils’ musical meanings and experiences. This applies not only to the sphere of popular music, but also to classical music and, by implication, other musics as well. Finally, the notions of musical autonomy, personal autonomy and musical authenticity in relation to musical meaning and informal learning practices within the classroom are discussed.

/pdf/popular-music-education-in-and-for-itself-and-for-other-4y34kfk24c.pdf

Popular music education in and for itself, and for ‘other’ music: current research in the classroom:

Numerous dimensions of this paper were stimulated by and formulated in response to two of my favorite groove-sters, Robert Plant Armstrong and Charles Keil, to whom it is dedicated. Bob was my main uptown source of inspiration; elegant, visual, heady, abstract, he could contemplate every phenomenological ounce of melody from a sculpted object. I think of Bob as the His Master's Voice of the groove, loving the intensity of form, and the sensuality of witnessing it. Charlie has been my strongest downtown critic, hearing Kaluli ideas and sounds as street-solid critiques of Western modes of musical production and consumption, always ready to help celebrate what liberation or resistance they can inspire. I think of Charlie as the James Brown (“Give it up or turnit a-loose!”) proto-rap-scratcher of the groove, putting pennies on the tone arm, push-press-pulling the record back and forth before digging the spin. Research support for fieldwork with the Kaluli 1976-7, 1982, 1984 was generously provided by the Institute of Papua New Guinea Studies, the National Endowment for the Arts, the National Science Foundation, the Wenner-Gren Foundation for Anthropological Research, and the American Philosophical Society. For discussion of early variants or versions of these ideas much thanks and no blame to audience participants at lectures/colloquia at the University of Texas Semiotics Colloquium, Rice University Circle, Columbia University Center for Ethnomusicology, American Anthropological Association Annual Meetings, New York University Anthropology Department, Carleton University Conference on Alternative Musicology. As always, it is a pleasure to acknowledge the help of my collaborators and kinsmen, nado Babi (Bambi B. Schieffelin) and nabas Bage (Edward L. Schieffelin), both of whom lifted-up-over several versions of this essay, and Jubi, Kulu, Gigio, Honowo, Ayasilo, and many other Kaluli who have shared song, talk, food, and trail. Thanks too for helpful lift-up-over comments to Dieter Christensen, John Miller Chernoff, Charlie Keil, Gail Kligman, Greg Urban, and anonymous readers. Bikpela thanks to Shari Robertson for her photographs, and to Don Niles of the Institute of Papua New Guinea Studies Music Department for tracking down the original Krymus Band recording of Wanpela Meri.

Aesthetics as Iconicity of Style, or 'Lift-up-over Sounding': Getting into the Kaluli Groove

This article offers a model of musical meaning that allows for the cultural construction of musical meaning, while at the same time acknowledging the existence of constraints upon the meanings any given music may support under any given circumstances; in this way it aims to  ll the void between existing approaches that understand musical meaning as either inherent or socially constructed. I illustrate the argument through Tovey’s and McClary’s contrasting readings of the recapitulation in the  rst movement of Beethoven’s Ninth Symphony, and suggest some ways in which theory and analysis may enter into a constructive relationship with the broadened critical agenda of contemporary musicology. This content downloaded from 157.55.39.217 on Mon, 18 Apr 2016 07:06:54 UTC All use subject to http://about.jstor.org/terms

https://www.jstor.org/stable/pdf/10.1525/mts.2001.23.2.170.pdf

Theorizing Musical Meaning

Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde.

http://soc.sagepub.com/content/12/2/393.full.pdf

Whose Music? A Sociology of Musical Languages

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Whose Music? A Sociology of Musical Languages