Christopher Doll
,@rockdoc
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John Covach deposited “The Performer’s Experience: Positional Listening and Positional Analysis,” in G. Borio, G. Gioriani, A. Cecchi, and M. Lutzu, eds. Investigating Music Performance: Theoretical Models and Intersections (Routledge, 2020), 56-68. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 5 years, 5 months agoThis chapter presents an approach to musical listening and analysis that privileges the individual perspectives of performers in a rock ensemble. Using passages from Yes’s “And You And I,” this study examines how each musician hears the texture in different ways while each of these “positions” differs from the Ideal Listening Position, which is…[Read more]
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John Covach deposited “The Performer’s Experience: Positional Listening and Positional Analysis,” in G. Borio, G. Gioriani, A. Cecchi, and M. Lutzu, eds. Investigating Music Performance: Theoretical Models and Intersections (Routledge, 2020), 56-68. in the group
Society for Music Theory (SMT) on Humanities Commons 5 years, 5 months agoThis chapter presents an approach to musical listening and analysis that privileges the individual perspectives of performers in a rock ensemble. Using passages from Yes’s “And You And I,” this study examines how each musician hears the texture in different ways while each of these “positions” differs from the Ideal Listening Position, which is…[Read more]
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John Covach deposited “Popular Music in the Theory Classroom,” in The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel (Routledge, 2020), pp. 331-339. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 5 years, 5 months agoThis chapter considers the role of popular music in the undergraduate music theory curriculum, proposing three models for integrating pop into theory teaching.
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John Covach deposited “Popular Music in the Theory Classroom,” in The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel (Routledge, 2020), pp. 331-339. in the group
Society for Music Theory (SMT) on Humanities Commons 5 years, 5 months agoThis chapter considers the role of popular music in the undergraduate music theory curriculum, proposing three models for integrating pop into theory teaching.
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John Covach deposited “Jimmy Miller, the Rolling Stones, and Beggars Banquet,” in “They Call My Name Disturbance”: Beggars Banquet and the Rolling Stones’ Rock and Roll Revolution, edited by Russell Reising (Routledge, 2020), pp. 19-25. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 5 years, 5 months agoThis paper surveys the career of Jimmy Miller and explores his role as producer for the Rolling Stones, with particular emphasis on Beggars Banquet.
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John Covach deposited “Jimmy Miller, the Rolling Stones, and Beggars Banquet,” in “They Call My Name Disturbance”: Beggars Banquet and the Rolling Stones’ Rock and Roll Revolution, edited by Russell Reising (Routledge, 2020), pp. 19-25. in the group
Society for Music Theory (SMT) on Humanities Commons 5 years, 5 months agoThis paper surveys the career of Jimmy Miller and explores his role as producer for the Rolling Stones, with particular emphasis on Beggars Banquet.
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John Covach deposited “The Performer’s Experience: Positional Listening and Positional Analysis,” in G. Borio, G. Gioriani, A. Cecchi, and M. Lutzu, eds. Investigating Music Performance: Theoretical Models and Intersections (Routledge, 2020), 56-68. on Humanities Commons 5 years, 5 months ago
This chapter presents an approach to musical listening and analysis that privileges the individual perspectives of performers in a rock ensemble. Using passages from Yes’s “And You And I,” this study examines how each musician hears the texture in different ways while each of these “positions” differs from the Ideal Listening Position, which is…[Read more]
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John Covach deposited “Popular Music in the Theory Classroom,” in The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel (Routledge, 2020), pp. 331-339. on Humanities Commons 5 years, 5 months ago
This chapter considers the role of popular music in the undergraduate music theory curriculum, proposing three models for integrating pop into theory teaching.
-
John Covach deposited “Jimmy Miller, the Rolling Stones, and Beggars Banquet,” in “They Call My Name Disturbance”: Beggars Banquet and the Rolling Stones’ Rock and Roll Revolution, edited by Russell Reising (Routledge, 2020), pp. 19-25. on Humanities Commons 5 years, 5 months ago
This paper explored the role of Jimmy Miller in his role as producer for the Rolling Stones, with particular emphasis on Beggars Banquet.
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Brad Osborn replied to the topic Readings in the Analysis of African-American Popular Music in the discussion
Society for Music Theory – Popular Music Interest Group on Humanities Commons 5 years, 5 months agoHi Everybody. I replied to Walt privately with some readings from my own version of this class, but it’s too important not to share here as well:
Attas, Robin. 2019. “Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar’s To Pimp A Butterfly.” Music Theory Online 25/1
< http://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.attas.h…[Read more] -
Brad Osborn deposited The Frame and The Swerve: Music Video’s Relationship to Dance in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 5 years, 8 months agoA somewhat whimsical musing on music videos by Fall Out Boy and Beyoncé, all through the lens of Lucretius by way of John Rahn.
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Brad Osborn deposited The Frame and The Swerve: Music Video’s Relationship to Dance on Humanities Commons 5 years, 8 months ago
A somewhat whimsical musing on music videos by Fall Out Boy and Beyoncé, all through the lens of Lucretius by way of John Rahn.
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Brad Osborn deposited Content and Correlational Analysis of a Corpus of MTV-Promoted Music Videos Aired Between 1990 and 1999 in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 5 years, 10 months agoFrom 1990 to 1999 MTV promoted a series of 288 music videos called “Buzz Clips”, designed to highlight emerging artists and genres. Such promotion had a measurable impact on an artists’ earnings and record sales. To date, the kinds of musical and visual practices MTV promoted have not been quantitatively analyzed. Just what made some videos Buzzw…[Read more]
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Brad Osborn deposited Content and Correlational Analysis of a Corpus of MTV-Promoted Music Videos Aired Between 1990 and 1999 in the group
Society for Music Theory (SMT) on Humanities Commons 5 years, 10 months agoFrom 1990 to 1999 MTV promoted a series of 288 music videos called “Buzz Clips”, designed to highlight emerging artists and genres. Such promotion had a measurable impact on an artists’ earnings and record sales. To date, the kinds of musical and visual practices MTV promoted have not been quantitatively analyzed. Just what made some videos Buzzw…[Read more]
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Brad Osborn deposited Content and Correlational Analysis of a Corpus of MTV-Promoted Music Videos Aired Between 1990 and 1999 on Humanities Commons 5 years, 10 months ago
From 1990 to 1999 MTV promoted a series of 288 music videos called “Buzz Clips”, designed to highlight emerging artists and genres. Such promotion had a measurable impact on an artists’ earnings and record sales. To date, the kinds of musical and visual practices MTV promoted have not been quantitatively analyzed. Just what made some videos Buzzw…[Read more]
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Brad Osborn deposited Risers, Drops, and a Fourteen-Foot Cube: A Transmedia Analysis of Emil Nava, Calvin Harris, and Rihanna’s “This is What You Came For” in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 5 years, 11 months agoA consideration of 14 collaborative music videos by Emil Nava and Calvin Harris, closing with a close analysis of their work on Rihanna’s “This is What You Came For” (2016).
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Brad Osborn deposited Risers, Drops, and a Fourteen-Foot Cube: A Transmedia Analysis of Emil Nava, Calvin Harris, and Rihanna’s “This is What You Came For” in the group
Society for Music Theory (SMT) on Humanities Commons 5 years, 11 months agoA consideration of 14 collaborative music videos by Emil Nava and Calvin Harris, closing with a close analysis of their work on Rihanna’s “This is What You Came For” (2016).
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Brad Osborn deposited Risers, Drops, and a Fourteen-Foot Cube: A Transmedia Analysis of Emil Nava, Calvin Harris, and Rihanna’s “This is What You Came For” on Humanities Commons 5 years, 11 months ago
A consideration of 14 collaborative music videos by Emil Nava and Calvin Harris, closing with a close analysis of their work on Rihanna’s “This is What You Came For” (2016).
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John Covach deposited “The Schönberg Analytical Legacy: Rudolph Reti and Thematic Transformation,” Journal of the Arnold Schönberg Center 16 (2019): 99-111. in the group
Society for Music Theory (SMT) on Humanities Commons 6 years, 1 month agoThis paper considers Rudolf Reti’s The Thematic Process in Music in the context of Arnold Schoenberg theoretical writing.
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