This collection of essays, written by ten musicologists and music theorists specialising in popular music, presents a wide range of scholarly approaches to understanding artistic expression in rock music. Covering such artists as Frank Zappa, U2, Genesis, The Cure, Tori Amos, and Sarah McLachlan, these writings provide insights into the music that should be suitable for scholars, students and popular music fans alike.
Table of Contents
Contents Introduction The Imagination of Pop-Rock Criticism. Nadine Hubbs Politics and Musical Expression Music, Contexts, and Meaning in U2. Susan Fast From L'Etranger to "Killing an Arab": Representing the Other in a Cure Song. Ellie Hisama Style Studies in Progressive Rock and Jazz-Rock Fusion Large-Scale Strategy and Compositional Design in the Early Music of Genesis. Mark S. Spicer Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late 1970's American Progressive Rock. John Covach Frank Zappa's Recompositions Frank Zappa's "The Black Page": A Case of Musical "Conceptual Continuity". James Borders The Musical World(s?) of Frank Zappa: Some Observations of His "Crossover" Pieces. Jonathon W. Bernard Rock Music and Linear Analysis Analytical Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos's "Crucify". Lori Burns Fumbling Towards Ecstacy: Voice-Leading, Tonal Structure and the Theme of Self-Realisation in the Music of Sarah McLachlan. Timothy Koozin Conclusion Confessions from Blueberry Hill, or, Pitch Can Be A Sticky Substance. Walter Everett