Christopher Doll
,@rockdoc
4
Following
6
Followers
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John Covach deposited “The Hippie Aesthetic: Cultural Positioning and Musical Ambition in Early Progressive Rock,” in Composition and Experimentation in British Rock 1966–1976, a special issue of Philomusica Online (2007); reprinted in The Ashgate Library of Essays on Popular Music: Rock, ed. Mark Spicer (Ashgate publishing, 2012), 65-75. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoThis article outlines the “hippie aethetic” as a way of unifying rock music from the 1960s and 70s.
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John Covach deposited “Leiber and Stoller, the Coasters, and the ‘Dramatic AABA’ Form,” in Sounding Out Pop: Analytical Essays in Rock Music, ed. Covach and Spicer (University of Michigan Press, 2010)., 1-17. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAn examination of how the music of the Coasters, written by Leiber and Stoller, invert the rhetorical emphasis of the bridge section in AABA form.
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John Covach deposited “Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late-1970s American Progressive Rock,” in W. Everett, ed., Rock Music: Critical Essays on Composition, Performance, Analysis, and Reception (Garland Publishing, 1999), 113-34. Reprinted in the second edition (2007). in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAn exploration of jazz-rock fusion in the 1970s.
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John Covach deposited “From Craft to Art: Formal Structure in the Music of the Beatles,” in Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four, ed. Ken Womack and Todd F. Davis (SUNY Press, 2006), 37-53. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAn exploration of how the Beatles’ use of form can be used to indicate the emergence of an “artist” aesthetic in the band’s music in the 1960s.
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John Covach deposited “Form in Rock Music: A Primer,” in Engaging Music: Essays in Music Analysis, ed. D. Stein (Oxford University Press, 2005), 65-76. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoA survey of song form in rock music, focusing on music from the 1955-1990 period.
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John Covach deposited “Pangs of History in Late 1970s Rock,” in Allan Moore, ed., Analyzing Popular Music (Cambridge University Press, 2003): 173-95. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAn examination of new wave music in the late 1970s.
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John Covach deposited “Echolyn and American Progressive Rock,” in Covach and Everett, eds., American Rock and the Classical Music Tradition, a special issue of Contemporary Music Review, 18/4 (August 2000): 13-61. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAn examination of American progressive rock in the 1980s and 90s.
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John Covach deposited “We Can Work It Out: Musical Analysis and Rock Music,” in Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, eds., Popular Music—Style and Identity (Montreal: The Centre for Research on Canadian Cultural Industries and Institutions, 1995): 69a-71a. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAn essay addressing methods of analyzing rock music within the disciplinary context of popular music studies in the 1990s.
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John Covach deposited “We Won’t Get Fooled Again: Rock Music and Musical Analysis,” reprinted and updated in Interdisciplinary Studies in Musicology 5 (2005), 225-46. Originally appeared in In Theory Only 13/1-4 (1997): 119-41; and in A. Kassabian, D. Schwarz, and L. Siegel, eds., Keeping Score: Music, Disciplinarity, Culture (University Press of Virginia, 1997), 75-89. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAn essay considering the relationship between musical analysis and popular music studies in the disciplinary context of the mid 1990s.
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John Covach deposited “Popular Music, Unpopular Musicology,” in N. Cook and M. Everist, eds., Rethinking Music (Oxford University Press, 1999), 452-70. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoA discussion of the relationship of popular music within the context of musical scholarship.
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John Covach deposited “Stylistic Competencies, Musical Humor, and ‘This is Spinal Tap,’“ in E. Marvin and R. Hermann, eds., Concert Music, Rock and Jazz Since 1945: Essays and Analytical Studies (University of Rochester Press, 1995), 402-424. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAnalysis of songs from the film This is Spinal Tap, explored from the perspectives of stylistic competency and theories of humor.
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John Covach deposited “The Rutles and the Use of Specific Models in Musical Satire,” Indiana Theory Review 11 (1990): 119-44. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAnalysis of songs by the Rutles, explored from the perspectives of stylistic competency and theories of humor.
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John Covach deposited “Yes, ‘Close to the Edge,’ and the Boundaries of Rock,” in Covach and Boone, eds., Understanding Rock (New York: Oxford University Press, 1997), 3-31. in the group
Society for Music Theory – Popular Music Interest Group (SMT PMIG) on Humanities Commons 6 years, 2 months agoAnalysis of title track from Yes’s Close to the Edge album.
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Mark Spicer's profile was updated on Humanities Commons 6 years, 2 months ago
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Mark Spicer's profile was updated on Humanities Commons 6 years, 2 months ago
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Mark Spicer deposited “(Per)Form in(g) Rock: A Response” on Humanities Commons 6 years, 2 months ago
The published version of my invited response to the special session on “(Per)Form in(g) in Rock” from SMT Indianapolis.
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Mark Spicer deposited “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” on Humanities Commons 6 years, 2 months ago
This article explores the sometimes tricky question of tonality in pop and rock songs by positing three tonal scenarios: 1) songs with a fragile tonic, in which the tonic chord is present but its hierarchical status is weakened, either by relegating the tonic to a more unstable chord in first or second inversion or by positioning the tonic…[Read more]
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Mark Spicer deposited “Introduction: The Rock (Academic) Circus” on Humanities Commons 6 years, 2 months ago
The introductory essay to my edited volume *Rock Music*, from the Ashgate Library of Essays in Popular Music series (2011).
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Mark Spicer deposited “The Electric Light Orchestra and the Anxiety of the Beatles’ Influence.” on Humanities Commons 6 years, 2 months ago
This chapter focuses on the work of the Electric Light Orchestra (ELO), a group that emerged in the immediate wake of the Beatles and whose anxiety of influence towards the Beatles is especially apparent. Brian Wilson of the Beach Boys, for example, was paralyzed by his anxiety of influence, but Jeff Lynne, ELO’s leader and main composer, saw t…[Read more]
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Mark Spicer deposited “Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs.” on Humanities Commons 6 years, 2 months ago
In a seminal 1985 article, Robert Hatten outlines a theory of musical intertextuality with the potential for a broad range of application. He suggests that intertextuality in music operates on two essential levels: stylistic and strategic. Stylistic intertextuality occurs when a composer adopts distinctive features of an earlier style without…[Read more]
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