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Full Description
Arguing that music not only affects our identities but shapes them, this work explores the interpretation of popular music within a broad, interdisciplinary framework of musicology. It examines the functions of pop music within a constantly shifting social plane from the 1980s onwards, suggesting various approaches for the analysis of pop music. The author examines selected case-studies, and asks what these "pop texts" have signified for him in his particular social context, leading him to considerhow musical meaning resides in social values. He focuses on the authorial identity and the problems associated with musicological practice,
Contents
Part 1 Settling the pop score...values; musical codes and compositional design; modelling identity; interpreting ironic intent; further discursions into the pop text; towards a critical musicology of the popular; mobilizing the pop score. Part 2 "I'll never be an angel" - stories of deception in Madonna's music: reading musical codes in Madonna's performance; hearing, seeing, feeling gender; spectatorship and seduction; production and (post)modernist "survival"; final concluding thoughts. Part 3 Anti-rebel, lonesome boy - Morrissey in crisis?: with a thorn in his side; constructs of male identity in Morrissey; characterization and "star" depiction; modelling empathy through vocal "sound"; interpreting ironic markers in pop texts; conclusion. Part 4 Annie Lennox's "Money Can't Buy It" - masquerading identity: opting for gender disguise; questions of musical coding; visualizing sound through videography; being "totally" diva; conclusion. Part 5 "Call it performance, honey" - the Pet Shop Boys: masculinity in the 1980s; being boring and clever - style as rhetoric; banality - political discourses of pleasure and power; "disco-tex and the sexelettes" -satirical musical address; towards a PSB discourse; conclusion. Part 6 Subversive musical pleasures in "The Artist (Again) Known as Prince": dialectics of music and imagination; identity as racial commodity; stylistic and technical codes in "Diamonds and Pearls"; sexing and "spinning" gender in musical expression; carnivalesque musical display - signs of the times; conclusion.
