Koozin: Selected Readings in Analysis of Jazz and Popular Music

 

Many pieces are discussed in the readings. Listen to any works you are less familiar with.

 

eReserve download page: http://p8081-docutek.lib.uh.edu.ezproxy.lib.uh.edu/eres/coursepage.aspx?cid=1414

 

When off-campus, students may need to enter the eReserves by way of the Music Library: http://library.uh.edu/screens/anderson_reserves.html

   

I. Popular music, gender, and meaning

  

1. Kruse, Holly. 1999. “Gender” in Key Terms in Popular Music and Culture.  Edited by Bruce Horner and Thomas Swiss. Blackwell, pp 85-95. eReserve

2. Burns, Lori and M. Lafrance. 2002. Disruptive Divas: Feminism, Identity, and Popular Music. Routledge Press. eReserve

3. Frith, Simon. 1996. Performing Rites. Oxford University Press. Chapter 9, pp. 183-202. eReserve

4. Middleton, Richard. 2001. “Pop, Rock, and Improvisation.” Cambridge Companion to Pop and Rock. New York: Cambridge University Press. Chapter 9, pp. 213-25. eReserve

5. Dibben, Nicola. 1999. “Representations of Femininity in Popular Music.” Popular Music 18: 331-355. eReserve

6. Clarke, Eric. 2005. Ways of Listening: An Ecological Approach to the Perception of Musical Making. Oxford University Press, Chapter 5 excerpts. eReserve

7. Allan F. Moore. 2005. The Persona-Environment Relation in Recorded Song. Music Theory Online, Volume 11/4. http://mto.societymusictheory.org/issues/mto.05.11.4/toc.11.4.html

8. Timothy Koozin. 2007. “Fumbling Towards Ecstasy: Voice Leading, Tonal Structure, and the Theme of Self-Realization in the Music of Sarah McLachlan” in Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays, ed. Walter Everett. Garland, 2nd ed. eReserve

 

II. Harmony and Form in Rock

 

1.Everett, Walter. Making Sense of Rock's Tonal Systems. Music Theory Online, Volume 10/4 (December 2004).  http://mto.societymusictheory.org/issues/mto.04.10.4/toc.10.4.html   Listening search list   Study Questions

2. Spicer, Mark.  “(Ac)cumulative Form in Pop-Rock Music.” 20th-Century Music 1/1 (2004): 29-64. eReserve   Listening search list   Study Questions

   

III. Jazz Studies  A web page of listening examples for these articles is available through eReserve

 

1. Folio, Cynthia. 1995. “An Analysis of Polyrhythm in Selected Improvised Jazz Solos.” Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, ed. Elizabeth West Marvin and Richard Hermann. University of Rochester Press, 103–34. eReserve  Study questions

2. Larson, Steve. 2006. “Rhythmic Displacement in the Music of Bill Evans.” Structure and Meaning in Tonal Music: A Festschrift for Carl Schachter, ed. Poundie Burstein and David Gagne. Hillsdale, NY: Pendragon Press, 103–122. eReserve

3. Waters, Keith. 1996. “Blurring the Barline: Metric Displacement in the Piano Solos of Herbie Hancock” Annual Review of Jazz Studies 8, pp. 19-37.

4. Progler, J.A. 1995. “Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section.” Ethnomusicology 39/1: 21–54 eReserve

5. Larson, Steve. 1999. "Swing and Motive in Three Performances by Oscar Peterson." Journal of Music Theory 43/2: 283–313. eReserve

7. Huang, Hao and Huang, Rachel V.. 1994–5. “Billie Holiday and Tempo Rubato: Understanding Rhythmic Expressivity.” Annual Review of Jazz Studies 7: 181–199.

7. Burns, Lori. 2005. “Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong.” Music Theory Online 11/3: http://mto.societymusictheory.org/issues/mto.05.11.3/mto.05.11.3.burns.html

8. Folio, Cynthia and Robert W. Weisberg. 2006. “Billie Holiday's Art of Paraphrase: A Study in Consistency,” co-authored with Robert W. Weisberg, T, in New Musicology (Interdisciplinary Studies in Musicology) Poznan, Poland: Poznan Press, 247–75. eReserve

 

IV. Performer Interaction and the Groove

 

1. Matthew W. Butterfield. The Power of Anacrusis: Engendered Feeling in Groove-Based Musics. Music Theory Online 12/4 (December 2006). http://mto.societymusictheory.org/issues/mto.06.12.4/mto.06.12.4.butterfield.html Study Questions

2. Fernando Benadon. A Circular Plot for Rhythm Visualization and Analysis, Music Theory Online 13/3 (September 2007). http://mto.societymusictheory.org/issues/mto.07.13.3/toc.13.3.html 

3. Luis-Manuel Garcia. On and On: Repetition as Process and Pleasure in Electronic Dance Music. Music Theory Online, Volume 11/4 (October 2005). http://mto.societymusictheory.org/issues/mto.05.11.4/toc.11.4.html  Study Questions

4. Butler, Mark.  Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music.  Indiana University Press, 2006. (selections)

 

V. Country Music

 

Lewis, George H.  All That Glitters: Country Music in America.  Bowling Green University Press, 1993.

Neal, Jocelyn R.  “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.”  Music Theory Spectrum 29/1 (2007): 41-72.

Neal, Jocelyn R.  “The Metric Makings of a Country Hit.”  Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars, ed. Cecelia Tichi, 322-337.  Duke University Press, 1998.