Categorical conventions in music discourse: Style and genre

Music and Letters

Volumn 82, Issue 3, 2001, Pages 432-442

  Moore, Allan F ^a  

^a NONE

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EID: 61249363335     PISSN: 00274224     EISSN: None     Source Type: Journal    
DOI: 10.1093/ml/82.3.432     Document Type: Review

References (58)

1. Exemplified respectively by Iron Maiden: The Number of the Beast, London: EMI, 1982 and Vengeance Rising: Once Dead, Los Angeles: Intense, 1990
2. For example, Susan Hayward, Key Concepts in Cinema Studies, London, 1996
3. Stephen Neale, Genre, London, 1983; Tom O'Sullivan, John Hartley, Danny Saunders & John Fiske, Key Concepts in Communication, London, 1983
4. For example, Richard L. Crocker, A History of Musical Style, New York, 1986
5. Siegmund Levarie & Ernst Levy, Musical Morphology: a Discourse and a Dictionary, Kent, Ohio, 1983
6. and even John Shepherd: 'Towards a Sociology of Musical Styles', in Lost in Music: Culture, Style and the Musical Event, ed. Avron Levine White, London, 1987. Shepherd, of course, is explicit in his opposition to formalism
7. Franco Fabbri, 'A Theory of Musical Genres: Two Applications', in Popular Music Perspectives, ed. David Horn & Philip Tagg, Exeter, 1982, pp. 52-81, at p. 52
8. Philip Tagg, 'Towards a Sign Typology of Music', in Secondo convegno europeo di analisi musicale, ed. Rosanna Dalmonte & Mario Baroni, Trent, 1992, pp. 369-78, at p. 376
9. Leonard B. Meyer, Style and Music: Theory, History and Ideology, Philadelphia, 1989, p. 3
10. The Concise Oxford Dictionary of English Etymology, ed. T. F. Hoad, Oxford, 1986
11. Leonard G. Ratner, Classic Music: Expression, Form and Style, New York, 1980
12. See John Daverio, Nineteenth-Century Music and the German Romantic Ideology, New York, 1993
13. Michael Podro, 'Alois Riegl', in Dictionary of Art, ed. Jane Turner, London, 1996, xxvi. 369
14. 'A style is nothing but the results at a given moment of purely individual products ... A style ... does not enter the consciousness of the individuals from whose products it arises. The collective attitude which is expressed in an artistic style realizes something which no one has "willed" and realizes more than any one individual could will.' Arnold Hauser, The Sociology of Art, trans. Kenneth Northcott, London, 1982, p. 68
15. 'The style of an epoch, of a school, of a composer, of a work, does not arise accidentally, as the casual outcome and manifestation of artistic will. It is, on the contrary, based on laws of becoming ...', quoted in Ian Bent, Analysis, Basingstoke, 1987, p. 43
16. Guido Adler, 'Gustav Mahler', trans. & ed. Edward R. Reilly, in idem, Gustav Mahler and Guido Adler, Cambridge, 1982, p. 46
17. Lucy Green, Music on Deaf Ears: Musical Meaning, Ideology and Education, Manchester, 1988
18. Vic Gammon, 'Problems of Method in the Historical Study of Popular Music', in Popular Music Perspectives, ed. Horn & Tagg, pp. 16-31
19. An unproblematized discussion of this model appears in John Fiske, Introduction to Communication Studies, London, 1982, pp. 6-22
20. As a model for the creation of musical meaning, at least in the realms of high art, it has been refuted by Jean-Jacques Nattiez (Music and Discourse, trans. Carolyn Abbate, Princeton, 1990, pp. 16-19), among others
21. Gammon, 'Problems of Method', p. 20
22. John Fiske, Television Culture, London, 1987, p. 250
23. Dick Hebdige, Subculture: the Meaning of Style, London, 1979, pp. 87, 103ff
24. David Cope, Computers and Musical Style, Oxford, 1991, p. 30
25. Quoted in Ates Orga, 'The Man and his Music', in programme book to the London Sinfonietta series The Complete Instrumental Chamber Music of Arnold Schoenberg and Roberto Gerhard, ed. David Atherton, London, 1973, pp. 87-94, at p. 92
26. 'Style is the medium by virtue of which we experience music, and without it we could have no music at all. No piece of music is ever stylistically autonomous. Whether particular individuals hear all music in terms of either pop or classical styles alone, or whether they make finer distinctions between late Haydn and early Beethoven, Tamla Motown and Disco, whether such activity is self-conscious or intuitive, it cannot be avoided ... we must have some knowledge of the Style of a piece of music in order to experience inherent meanings as distinct from non-musically meaningful sound, at all.' Green, Music on Deaf Ears, pp. 33-4
27. Nattiez, Music and Discourse, p. 144 n. 8, referring to Meyer's Music, the Arts and Ideas, Chicago, 1967
28. Meyer, Style and Music
29. This socio-cultural dimension is notably absent from Jan LaRue's Guidelines for Style Analysis, New York, 1970
30. Particularly Emotion and Meaning in Music, Chicago, 1956
31. and Explaining Music, Chicago, 1973
32. Levarie & Levy, Musical Morphology, p. 264
33. Lewis Rowell, Thinking about Music, Amherst, 1983, pp. 114, 192, 122
34. Carl Dahlhaus, 'New Music and the Problem of Musical Genre', in idem, Schoenberg and the New Music, trans. Derrick Puffett & Alfred Clayton, Cambridge, 1988, pp. 33, 35, 38 ff
35. Nicholas Cook, Music, Imagination, and Culture, Oxford, 1990, pp. 147, 37
36. Cook, Music, Imagination, and Culture, p. 43
37. This point is not universally agreed: for Covach, genre is a historicist issue, positing writers writing for inclusion in a museum. See John Covach, 'Dahlhaus, Schoenberg, and the New Music', In Theory Only, xii (1991), 19-42, at pp. 21-5
38. The historical development of genres was also, of course, a matter of concern to Adorno. See Max Paddison, Adorno's Aesthetics of Music, Cambridge, 1993, esp. pp. 175, 154
39. Tom Ryall, 'Teaching through Genre', Screen Education, xvii (1975-6), quoted in Neale, Genre, p. 28
40. Robert Walser, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, Hanover, NH, 1993, p. 109
41. Fiske, Television Culture, p. 109
42. Jeffrey Kallberg: 'The Rhetoric of Genre: Chopin's Nocturne in G Minor', Nineteenth Century Music, xi (1987-8), 238-61, at p. 243
43. See Adam Krims, Rap Music and the Poetics of Identity, Cambridge, 2000, pp. 80 ff
44. Hayward, Key Concepts, p. 160
45. Roy Shuker, Key Concepts in Popular Music, London, 1998
46. Richard Bauman, 'Genre', in Folklore, Cultural Performances, and Popular Entertainments, ed. idem, New York, 1992, pp. 53-60
47. Johan Fornäs, 'The Future of Rock: Discourses that Struggle to Define a Genre', Popular Music, xiv/1 (1995), 111-27, at pp. 111 and 124. His definitions reflect his appropriation for music of categories developed by Paul Ricoeur
48. Edward A. Lippmann, A Humanistic Philosophy of Music, New York, 1977, p. 335
49. David Wulstan, Tudor Music, Iowa City, 1986, pp. 2, 47
50. Philip V. Bohlman, The Study of Folk Music in the Modern World, Bloomington, Indiana, 1988, pp. 4-12, 18, 38
51. Nattiez, Music and Discourse, p. 136
52. Fabbri, 'A Theory of Musical Genres', p. 64
53. Martin Stokes, Introduction to Ethnicity, Identity and Music: the Musical Construction of Place, Oxford, 1994, pp. 1-27, at p. 7
54. Jason Toynbee, Making Popular Music, London, 2000, cites Derrida making the same point, p. 103
55. Little Eva, 'The loco-motion', New York: London Records, 1962
56. Alan Durant, Conditions of Music, London, 1984, pp. 188-90
57. What Middleton, following a similar line, refers to as idiolect. Richard Middleton, Studying Popular Music, Buckingham, 1990, p. 174
58. Moore, Rock: the Primary Text, p. 170