Music analysis for “non-musos”

popular perception as a basis for understanding musical struc- ture and signification

Authors

Keywords:

analysis of popular music, musematic analysis, music for non-majors

Abstract

Study about the development of methods of popular music analysis, especially that addressed to “non-musos”, i.e. the illiterate in music, departing from semiotics references such as aesthesic and poïetic denotation (and connotation).

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Author Biographies

Philip Tagg, Faculté de Musique, Université de Montréal, Canadá

Professor of Musicology at the Faculté de Musique of the Université de Montréal (Canada). Co-founder of the International Association for the study of Popular Music (IASPM) and mentor of the Encyclopedia of Popular Music of the World (EPMOW), he has published dozens of articles in the most renowned journals. He was a lecturer at the Institute of Popular Music at the University of Liverpool (England), where he supervised master's and doctoral students and developed courses on musicology, analysis, harmony and semiology related to popular music. He has also worked at the University of Göteborg (Sweden) and the Swedish Council for Research in the Humanities and Social Sciences (Sweden). He is a classical organist and keyboardist in rock and pop bands, including Röda Kapellet. As a composer, he has written choral works and popular songs. He is the author and contributor to several educational radio programs related to popular music. He has received several awards in the areas of composition, teaching, and research. His website www.tagg.org is one of the most visited musicology and ethnomusicology of popular music sites in the world, where he makes available for free a significant part of his extensive didactic and research work.

Fausto Borém, University Federal of Minas Gerais (UFMG) (Brazil)

Professor at the School of Music at the Federal University of Minas Gerais (UFMG), where he created the Master's in Music and the Per Musi Magazine. He is a CNPq researcher since 1994 and his research results include a book, three book chapters, dozens of articles on performance practices and their interfaces (composition, analysis, musicology, ethnomusicology and music education) in national and international journals, dozens of score editions and recital presentations in major national and international double bass events. He has received several awards in Brazil and abroad as a soloist, theorist, composer and teacher. He has played with classical musicians such as Yo-Yo Ma, Midori, Menahen Pressler, Yoel Levi, Fábio Mechetti, Luiz Otávio Santos, Arnaldo Cohen, Antônio Menezes and popular musicians such as Hermeto Pascoal, Egberto Gismonti, Henry Mancini, Bill Mays, Kristin Korb, Grupo UAKTI, Toninho Horta, Juarez Moreira, Tavinho Moura, Roberto Corrêa, Maurício Tizumba and Túlio Mourão. His recordings include the CD Brazilian Music for the Double Bass, the CD and DVD O Aleph by Fabiano Araújo Costa, the CDs of the Baroque Orchestra of Juiz de Fora International Festival from 2005 to 2009 (with Luiz Otávio Santos), Claude Bolling's Suite for Flute and Jazz Piano (with Maurício Freire, Tânia Mara and Eduardo Campos) and No Sertão (with violist Roberto Corrêa) and Cidades Invisíveis (with saxophonist Daniel d ́Olivier).

References

DIBBEN, N. (Palestra não publicada sobre o disco Unison de Björk, ministrada na Conference on Popular Music Analysis da University of Cardiff, País de Gales, em 2001).

GIMSON, A. C. An Introduction to the Pronunciation of English. (publicado originalmente em 1962). London: Edward Arnold, 1967.

LACASSE, S. “Listen to My Voice”: The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression. Liverpool: PhD, Institute of Popular Music, University of Liverpool, 2000.

MARTÍNEZ, J. L. Semiosis in Hindustani Music. Imatra: Acta Semiotica Fennica V., 1997.

MIDDLETON, R. Towards a theory of gesture in popular song analysis. Secondo convegno europeo di analisi musicale, ed. R Dalmonte & M Baroni. Trento: Università degli studi di Trento, Dipartimento di storia della civiltà europea, 1992. p.345-350.

RICHARDSON, J. (Palestra não publicada sobre as similaridades da sonoridade das cordas em músicas de Bernard Herrmann, Beatles, Stevie Wonder e Coolio, ministrada na Conference on Popular Music Analysis da University of Cardiff, País de Gales, em 2001).

TAGG, P. Analysing Popular Music: Theory, Method and Practice. Popular Music. v.2, 1982, p.37-69. Republicado em Reading Pop. Approaches to Textual Analysis in Popular Music. Ed. R. Middleton. Oxford University Press, 2000, p.71-103 [www.tagg.org/articles/xpdfs/pm2anal.pdf].

______. Analysing music in the media: an epistemological mess. Music on Show: Issues of Performance, ed. T Hautamäki, H Järviluoma. Tampere: Department of Folk Tradition, 1998. p.319-329 [www.tagg.org/articles/glasg95.html]. 1998.

______. Fernando The Flute. New York: The Mass Media Music Scholars’ Press (www.tagg.org/mmmsp/fernando.html).2001d.

______. High and Low, Cool and Uncool: aesthetic and historical falsifications about music in Europe. Bulgarian Musicology, 2/2001, ed. C Levy. Sofia: Bulgarska Akademiya na Naukute-Institut za izkustvoznanie: 9-18. Expanded version of homonymous paper was delivered to the IASPM (UK) conference at the University of Guildford (July 2001) [www.tagg.org/articles/iaspmuk2000.html]. 2001a

______. Kojak: 50 Seconds of Television Music. New York: The Mass Media Music Scholars’ Press (2nd edition; 1st published 1979 by Musikvetenskapliga institutionen vid Göteborgs universitet) (www.tagg.org/mmmsp/kojak.html). 2001c.

______. Music, moving image, semiotics and the democratic right to know. Article based on paper delivered at conference ‘Music and Manipulation’, Nalen, Stockholm, 18 September, 1999. [www.tagg.org/articles/xpdfs/sth9909.pdf]. 1999

______. Music’s Meanings; online draft at www.tagg.org/bookxtrax/NonMuso/NonMuso.pdf. 2009a.

______. Musicology and the Semiotics of Popular Music. Semiotica, v.66-1/3, 1987. p.279-298 [www.tagg.org/articles/xpdfs/semiota.pdf]. 1987.

______. Notes on how classical music became “classical”. [www.tagg.org/teaching/classclassical.pdf]. 2000a.

______. Twenty Years After. Speech delivered at Founder’s Event, 11th International IASPM Conference, Turku, 8 July 2001 [www.tagg.org/articles/turku2001.html]. 2001b.

______. Vers une musicologie de la télévision. Frank Martin, musique et esthétique musicale. Actes du colloque de LaChaux-de-Fonds 1990, Ed. É Émery. Revue Musicale de Suisse romande, 1995. p.33-60 [www.tagg.org/articles/gonseth.html]. 1995

TAGG, P.; CLARIDA, R. Ten Little Title Tunes. New York: The Mass Media Music Scholars’ Press (www.tagg.org/mmmsp/10Titles.html). 2003.

TAMLYN, G. The Big Beat: Origins and development of snare backbeat and other accompanimental rhythms in Rock ‘n’ Roll. 1998, Liverpool: University of Liverpool, PhD Thesis, Institute of Popular Music. 1998.

Referências de áudio

HARRISON, George. My Sweet Lord: Apple R5884 (UK). 1971.

NORMAN, Monty. ‘Dr No’ – main titles (the ‘James Bond Theme’). In Dr No: MGM / UA Home Video.

PES 99210 (1992). On The Best of Bond: UA UAS 29021 (1975) and on Il terzo uomo e altri celebri film: RCA Cinematre NL 43890 (n.d.). 1962.

THE CHIFFONS. He’s So Fine: Stateside SS 172 (UK). Also on Legends of Rock’n’Roll. Tring TTMC 088 (n.d., c.1994). 1963.

THE EDWIN HAWKINS SINGERS. Oh Happy Day: Pavillion 20001 (US); Buddah 201048 (UK). Also on 20 Heavy Hits, Crystal S-600. 1969.

THE SOURCE FEATURING CANDI STATON. ‘You Got The Love — “Now Voyager” mix’. On Pure Dance ‘97. Polygram TV 555 084-2. 1991.

Additional Files

Published

2011-01-10

How to Cite

Tagg, Philip, and Fausto Borém. 2011. “Music Analysis for ‘non-musos’: Popular Perception As a Basis for Understanding Musical Struc- Ture and Signification”. Per Musi, no. 23 (January):1-12. https://periodicos.ufmg.br/index.php/permusi/article/view/41043.

Issue

No. 23 (2011): General Topics

Section

Translations

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