Full Description
From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres.
The first edited volume on repetition in 20th- and 21st-century popular music, Over and Over explores the wide-ranging forms and use of repetition — from large repetitive structures to micro repetitions — in relation to both specific and large-scale issues and contexts. The book brings together a selection of original texts by leading authors in a field that is, as yet, little explored. Aimed at both specialists and neophytes, it sheds important new light on one of the fundamental phenomena of music of our times.
Contents
List of Abbreviations and Contractions
List of Musical Examples, Figures, and Tables
Acknowledgements
List of Contributors
Preface
Antoine Hennion (Centre de Sociologie de l'Innovation, France)
Introduction: Play It Again (and Again), Sam
Olivier Julien (Paris-Sorbonne University, France) and Christophe Levaux (University of Liège, Belgium)
Part I: Repetition as an aesthetic disposition
1. When the Music stutters: Notes toward a Symptomatology
Robert Fink (University of California, Los Angeles, Herb Alpert School of Music, USA)
2. Time and Time Again: Repetition and Difference in Repetitive Music
Anne Danielsen (University of Oslo, Norway)
3. Towards an Alternative History of Repetitive Audio Technologies
Christophe Levaux (University of Liège, Belgium)
Part II: Issues of perception
4. Loops, Memories and Meanings
Chris Cutler (Independent Scholar)
5. Machine Possession: Dancing to Repetitive Beats
Hillegonda C. Rietveld (London South Bank University, UK)
6. Repetition and Musical Meaning: Anaphonic Perspective in Connection with the Sonic Experience of Everyday Life
Danick Trottier (Université du Québec à Montréal, Canada)
Part III: Repetition as a structuring device
7. From "Sectional Refrains" to Repeated Verses: The Rise of the AABA Form
Olivier Julien (Paris-Sorbonne University, France)
8. Standard Jazz Harmony and the Constraints of Hypermeter: Some Thoughts on Regular and Irregular Repetition
Keith Salley (The Shenandoah Conservatory, USA) and Daniel T. Shanahan (Louisiana State University, USA)
9. A Psychological Perspective on Repetition in Popular Music
Trevor de Clercq (Middle Tennessee State University, USA) and Elizabeth Hellmuth Margulis (University of Arkansas, USA)
References
Index
