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Musicology Presentation

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Paul Carr
Paul Carr

Lecture notes from musicology lectures

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Musicology
What is Musicology?
History of Musicology ,[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
Why Musicology ,[object Object],[object Object],[object Object],[object Object]
Module Aims ,[object Object],[object Object],[object Object]
Assessment ,[object Object],[object Object]
Written Essay (70%) ,[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Technological Presentation (30%) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Important Links ,[object Object],[object Object],[object Object]
What aspects of music can we analyse? ,[object Object],[object Object],[object Object],[object Object]
Composition ,[object Object],Melody Harmony Rhythm
Question: ,[object Object]
Additional Compositional Factors ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Questions: ,[object Object],[object Object]
Musical Form ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],Valerie Melodically Harmonically Texturally Lyrically Dynamically Rhythmically Worried About Ray Melodically Harmonically Texturally Lyrically Dynamically Rhythmically
Clues To Listen Out For ,[object Object],[object Object],[object Object],[object Object],[object Object],For Example “ Valerie”: Amy Winehouse “ Bleeding Love”: Leona Lewis
How Rhythm Can Delineate Form ,[object Object],[object Object],[object Object]
How Harmony Can Determine Form ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
How Melody Can Determine Form ,[object Object]
How Instrumentation/Texture Can Determine Form ,[object Object],[object Object],[object Object],[object Object]
Discussing Texture/Timbre ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Clear Mix Angels: Robbie Williams Textural Wash God Only Knows The Beach Boys
Discussing Timbre ,[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object]
How Metre Can Determine Form ,[object Object]
Polyrhythm ,[object Object],[object Object],[object Object]
General Points About Sections ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Examples Of Common Forms – Simple Verse Form (AAA) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Contrasting Verse Chorus Form (AB) ,[object Object],[object Object],[object Object],[object Object],[object Object]
Popular Song Form (AABA) ,[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
General Points About Form ,[object Object],[object Object],[object Object]
Roman Numeral/Harmonic Analysis
Spot The Mistakes
[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object]
Non Diatonic Chords |I IV bVII I I bIII IV I ||
Spot The Mistakes | I iv V9 I im7 ivm7 V(#9) I ||
Example Diatonic Harmonic Patterns ,[object Object],[object Object],[object Object],[object Object]
Phil Tagg: Milksap Video
Other Harmonic Examples ,[object Object],[object Object],[object Object]
Non Diatonic Examples ,[object Object],[object Object],[object Object]
Cycle Of 5ths ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Melodic Analysis – Horizontal Concepts ,[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object]
Rhythmic Sequence (RS) ,[object Object],[object Object],[object Object]
 
[object Object],[object Object]
Tonal Sequence (TS) ,[object Object],[object Object],[object Object],[object Object]
 
 
Direct Repetition ,[object Object],[object Object]
Rhythmic Displacement ,[object Object],[object Object]
 
Contextual Placement (CP) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
New Material ,[object Object],[object Object]
Variation (V) ,[object Object],[object Object]
Task Analysis (Unforgetable and Ain’t Misbehavin’
 
Melodic Analysis – Vertical Concepts ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
 
General Points About Melodic Analysis ,[object Object],[object Object]
‘Melodic Motion’ and ‘Melodic Rest’ ,[object Object],[object Object],[object Object]
Example Ratios (Melody:Rest) ,[object Object],[object Object],[object Object],[object Object],[object Object]
Performance Analysis ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Authenticity ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object]
Shakti and RunDMC/Aerosmith
Genre Synecdoche ,[object Object]
‘Intentional and ‘Extensional aspects of performance. ,[object Object],[object Object]
Time and Place in performance ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Muscle Shoals Studio
Sun Studios
[object Object],[object Object],[object Object],[object Object],[object Object]
Rolling Stones Version
[object Object]
Posthumous Duets ,[object Object],[object Object],[object Object],[object Object],[object Object]
Personal example: Sarah Jane Morris ,[object Object],[object Object]
One Artist – Multiple Overdubs ,[object Object],[object Object],[object Object],[object Object],[object Object]
Studio based ‘Virtual Performances’ ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Phil Tagg’s Musicological Model ,[object Object]
Music (channel) Emitter Receiver Intended ‘message’ ‘ adequate’ response s t o r e o f s y m b o l s s o c i o c u l t u r a l n o r m s ‘ inadequate’ response ‘ inadequate’ response shared by Emitter and Receiver shared by Emitter and Receiver receiver only receiver only emitter only emitter only codal incompetence codal interference ‘ inadequate’ encoding ‘ inadequate’ encoding Communication Model
1) The ‘Analysis Object’ ,[object Object],[object Object],[object Object],[object Object]
2) Para Musical Fields of Association (PMFA) ,[object Object],[object Object],[object Object]
3) ‘Parameters of Musical Expression’ (PME) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Parameters of musical expression (1) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Parameters of musical expression (2) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Parameters of musical expression (3) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
4) Inter Objective Comparison Material (IOCM) ,[object Object],[object Object],[object Object],[object Object],[object Object]
5) Items of Musical Code (IMC) ,[object Object],[object Object],[object Object]
Synopsis Of Process ,[object Object],[object Object],[object Object],[object Object],[object Object]
PMFC Paramusical Fields of Connotation (relevant to IOCM) PMFC Paramusical Fields of Connotation (relevant to AO) AO Analysis Object IOCM Interobjective Comparison Material
‘Hypothetical Substitution’ ,[object Object],[object Object],[object Object],[object Object]
Authenticity ,[object Object],[object Object]
Historical continuity ,[object Object]
Artistic Expression/Sincerity ,[object Object]
Commercial imperatives ,[object Object],[object Object]
Culture/Class of band and audience ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Technology and Production ,[object Object],[object Object]
THE RECORD - An authentic means of production and performance ,[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
Autographic/ Allographic ,[object Object],[object Object],[object Object]
[object Object],[object Object]
The discrete layers of a record – Song, Arrangement, and Track ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The Song ,[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object]
Example 1 ,[object Object],[object Object]
Example 2 ,[object Object],[object Object],[object Object],[object Object]
The Arrangement ,[object Object],[object Object],[object Object],[object Object]
Example 1 – Yesterday (1966) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Example 2 – Strawberry Fields ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The Track ,[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
Musical Traditions ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object]
Style,Genre and Tradition ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object]
Starting points/food for thought ,[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object]
Moore’s vertical ‘layers’ of Rock ,[object Object],[object Object],[object Object],[object Object],[object Object]
Identifying Repetition ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Basic musicological questions to ask: ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Some final Thoughts ,[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object]
Reminder of Models ,[object Object],[object Object],[object Object],[object Object]

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Musicology Presentation

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  • 47. Non Diatonic Chords |I IV bVII I I bIII IV I ||
  • 48. Spot The Mistakes | I iv V9 I im7 ivm7 V(#9) I ||
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  • 93. Music (channel) Emitter Receiver Intended ‘message’ ‘ adequate’ response s t o r e o f s y m b o l s s o c i o c u l t u r a l n o r m s ‘ inadequate’ response ‘ inadequate’ response shared by Emitter and Receiver shared by Emitter and Receiver receiver only receiver only emitter only emitter only codal incompetence codal interference ‘ inadequate’ encoding ‘ inadequate’ encoding Communication Model
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  • 103. PMFC Paramusical Fields of Connotation (relevant to IOCM) PMFC Paramusical Fields of Connotation (relevant to AO) AO Analysis Object IOCM Interobjective Comparison Material
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