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The Frame and The Swerve: Music Video's Relationship to Dance
Author(s):
Brad Osborn (see profile)
Date:
2020
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music theory, Popular Music Studies, Dance
Item Type:
Article
Tag(s):
Lucretius, music video
Enacting Musical Time: Chapter 1: Meaning
Author(s):
Mariusz Kozak (see profile)
Date:
2019
Group(s):
American Musicological Society, SMT Dance and Movement Interest Group, Society for Music Theory (SMT)
Subject(s):
Music theory, Music analysis, Phenomenology, Philosophy of time, Ecological humanities
Item Type:
Book chapter
Tag(s):
affordances, Edmund Husserl, Merleau-Pony
Zene, szó, dráma – színjátékok és szín(e)változások. A történelem szemantikája Puskin és Muszorgszkij művészi szkepszisében / Music, Word, Drama – Stagecraft and Transfigurations. The Semantics of History in the Artistic Skepticism of Pushkin and Musorgsky
Author(s):
Miklos Mezosi (see profile)
Date:
2006
Subject(s):
Comparative studies, History of opera, Music analysis, Music and literature, Semiotics
Item Type:
Book
Content and Correlational Analysis of a Corpus of MTV-Promoted Music Videos Aired Between 1990 and 1999
Author(s):
Brad Osborn (see profile) , Emily Rossin, Kevin Weingarten
Date:
2020
Group(s):
Society for Music Theory (SMT), Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Cinematography, Video (history and studio), Statistics
Item Type:
Article
Tag(s):
music video, 1990s, correlation
De fundamento discanti: Structure and Elaboration in Fourteenth-Century Counterpoint
Author(s):
Ryan Taycher (see profile)
Date:
2019
Group(s):
American Musicological Society, Medieval Studies, Society for Music Theory (SMT)
Subject(s):
Medieval music, Music theory, Music analysis, Music history
Item Type:
Dissertation
Tag(s):
History of Music Theory, Counterpoint, Ars nova
"The Schönberg Analytical Legacy: Rudolph Reti and Thematic Transformation," Journal of the Arnold Schönberg Center 16 (2019): 99-111.
Author(s):
John Covach (see profile)
Date:
2019
Group(s):
American Musicological Society, Society for Music Theory (SMT)
Subject(s):
Music analysis, Historical musicology, Music history
Item Type:
Article
Schubert, Valses sentimentales, D. 779, no. 13, Waltz in A major: A Collection of Readings
Author(s):
David Neumeyer (see profile)
Date:
2015
Subject(s):
Music analysis, Music theory
Item Type:
Article
Review of Alastair Borthwick, Music Theory and Analysis: The Limitations of Logic, MLA Notes (June 1996): 1192-94.
Author(s):
John Covach (see profile)
Date:
1996
Group(s):
American Musicological Society, Society for Music Theory (SMT), Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Philosophy and the arts
Item Type:
Book review
Review of Allen Forte, The American Popular Ballad of the Golden Era, 1924-1950, College Music Symposium 36 (1996): 168-72.
Author(s):
John Covach (see profile)
Date:
1996
Group(s):
American Musicological Society, Society for Music Theory (SMT), Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music history, Musicology, Music theory, Popular Music Studies
Item Type:
Review
“The Zwölftonspiel of Josef Matthias Hauer,” Journal of Music Theory 36.1 (1992): 149-84.
Author(s):
John Covach (see profile)
Date:
1992
Group(s):
American Musicological Society, Society for Music Theory (SMT)
Subject(s):
Music analysis, Music history, Musicology, Music theory
Item Type:
Article
“Balzacian Mysticism, Palindromic Design, and Heavenly Time in Berg’s Music,” in Encryted Messages in Alban Berg’s Music, ed. Siglind Bruhn (Garland Publishing, 1998), 5-29.
Author(s):
John Covach (see profile)
Date:
1998
Group(s):
American Musicological Society, Society for Music Theory (SMT)
Subject(s):
Music analysis, Music history, Musicology, Music theory
Item Type:
Book chapter
“George Harrison, Songwriter,” in M. Osteen, ed., Part of Everything: The Beatles’ White Album at Fifty (University of Michigan Press, 2019), 177-96.
Author(s):
John Covach (see profile)
Date:
2019
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Book chapter
"Analyzing Texture in Rock Music: Stratification, Coordination, Position, and Perspective," in Pop weiter denken: Neue Anstöße aus Jazz Studies, Philosophie, Musiktheorie und Geschichte, Beiträge zur Popularmusikforschung 44, ed. Ralf von Appen and André Doehring (Transcript Verlag, 2018), 53-72.
Author(s):
John Covach (see profile)
Date:
2018
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Book chapter
“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.
Author(s):
John Covach (see profile)
Date:
2007
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Article
“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.
Author(s):
John Covach (see profile)
Date:
2010
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Book chapter
“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).
Author(s):
John Covach (see profile)
Date:
1999
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Book chapter
“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.
Author(s):
John Covach (see profile)
Date:
2006
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music theory, Popular Music Studies
Item Type:
Book chapter
“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.
Author(s):
John Covach (see profile)
Date:
1997
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music theory, Popular Music Studies
Item Type:
Article
“Form in Rock Music: A Primer,” in Engaging Music: Essays in Music Analysis, ed. D. Stein (Oxford University Press, 2005), 65-76.
Author(s):
John Covach (see profile)
Date:
2005
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music theory, Popular Music Studies
Item Type:
Book chapter
“Pangs of History in Late 1970s Rock,” in Allan Moore, ed., Analyzing Popular Music (Cambridge University Press, 2003): 173-95.
Author(s):
John Covach (see profile)
Date:
2003
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Book chapter
“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.
Author(s):
John Covach (see profile)
Date:
2000
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Article
“Popular Music, Unpopular Musicology,” in N. Cook and M. Everist, eds., Rethinking Music (Oxford University Press, 1999), 452-70.
Author(s):
John Covach (see profile)
Date:
1999
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Musicology, Music theory, Popular Music Studies
Item Type:
Book chapter
“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.
Author(s):
John Covach (see profile)
Date:
1995
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music theory, Popular Music Studies
Item Type:
Book chapter
“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.
Author(s):
John Covach (see profile)
Date:
1995
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music theory, Popular Music Studies
Item Type:
Book chapter
“The Rutles and the Use of Specific Models in Musical Satire,” Indiana Theory Review 11 (1990): 119-44.
Author(s):
John Covach (see profile)
Date:
1990
Group(s):
Society for Music Theory – Popular Music Interest Group (SMT PMIG)
Subject(s):
Music analysis, Music theory, Popular Music Studies
Item Type:
Article

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