Traditions, Institutions, and American Popular Tradition

A special issue of the journal Contemporary Music Review

John Covach, Walter Everett

• Publisher: Routledge
• Year: 2013
• ISBN:
  9781134430451
• Edition: 1
• Topic: Medios de comunicación y artes escénicas
• Subtopic: Música

This issue explores the often uneasy relationship betwen rock and classical music by presenting a range of essays on the composers, performers, theorists, historians, critics and listeners who welcome the difficult but fruitful intercourse between classical and popular culture. Fascinating philosophical and analytical issues arise as a picture of the rich historical relationship between the two media emerges.
John Covach is associate professor of music at the University of North Carolina at Chapel Hill. He has published numerous articles on rock music, twelve-tone music and theory, and the philosophy of music. He is co-editor, with Graeme Boone, of Understanding Rock: Essays in Musical Analysis (Oxford UP, 1997). Also includes 32 musical examples.
Walter Everett is associate professor of music of Music at the University of Michigan. He has published numerous articles on rock music, art song, opera, Schenkerian theory, and other topics. He is author of The Beatles as Musicans: Revolver through the Anthology (O

Contemporary Music Review 2000, Vol. 19, Part 1, pp. 147–153 Reprints available directly from the publisher Photocopying permitted by license only

© 2000 OPA (Overseas Publishers Association) N.V. Published by license under the Harwood Academic Publishers imprint, part of The Gordon and Breach Publishing Group. Printed in Malaysia.

Index

A Streetcar Named Desire 44

Adams, John 114

Aeolian Hall 29–30, 69

aestheticism 89–111

Ali-Zadeh, Franghiz

“Mugam Sayagi” 126

Amadeus 138

American Society of University Composers 86

Anderson, Laurie 114

Archer, J. Stuart Intermezzo 43

Arlen, Harold

“A Sleepin’ Bee” 12–13

‘Fun to Be Fooled” 27–28

“Ill Wind” 19

“The Man That Got Away” 21–22, 24

Armstrong, Louis 104

“As Time Goes By” 2, 48–49, 51–54, 57, 62

Astaire, Fred 44, 61

atonality 5–36, 72, 80

augmented triad 16–19

Austin, Larry 86

“Avalon” 49, 52–54, 57

avant-garde 5–36

Babbitt, Milton 1, 78

Bach, J. S. 66, 92, 93, 98, 100

background music 41

Baker, David 105

band music 94–98

Barber, Bill 70

Barber, Samuel 76

“Adagio” 121

Bartók, Béla 33, 71, 80, 122

“Allegro Barbaro” 123

Hungarian Folk Songs 30

String Quartet No. 3 121

String Quartet No. 5 31

Beatles

Abbey Road 132

“Her Majesty” 132

“Revolution no. 9” 131

Sgt. Pepper’s Lonely Hearts Club Band 73, 123

The Beatles “White Album” 131

“Yesterday” 113

bebop 69–72, 76, 77, 105, 109

Beethoven, Ludwig van 44, 60, 100

“Moonlight” Sonata 43

Bellini, Vincenzo 30

Bennett, Tony 114

Berg, Alban 1, 35, 80

Guide to Schoenberg’s Gurrelieder 33

Lieder, Opus 2 8, 13–16

Lyric Suite 35

String Quartet, Opus 3 35, 121

Wozzeck 9–10, 18, 24, 34, 35

Berlin, Irving 1, 8

“Alexander’s Ragtime Band” 30

“Blue Skies” 34

Bernstein, Leonard 71, 87, 114

Berry, Chuck 124

Best, D...

Table of contents

• Cover
• Title Page
• Contents
• Preface
• Harmonic Relations: American Popular Harmonies (1925–1950) and Their European Kin
• Performances in Early Hollywood Sound Films: Source Music, Background Music, and the Integrated Sound Track
• Analyzing Third Stream
• Into the Ivory Tower: Vernacular Music and the American Academy
• Re-Drawing Boundaries: The Kronos Quartet
• Can Music Reweave the Fabric of Our Fragmented Culture?
• Copyright Notices
• Notes on Contributors
• Index