The musicological study of popular music has developed, particularly
over the past twenty years, into an established aspect of the
discipline. The academic community is now well placed to discuss exactly
what is going on in any example of popular music and the theoretical
foundation for such analytical work has also been laid, although there
is as yet no general agreement over all the details of popular music
theory. However, this focus on the what of musical detail has left
largely untouched the larger question - so what? What are the
consequences of such theorization and analysis? Scholars from outside
musicology have often argued that too close a focus on musicological
detail has left untouched what they consider to be more urgent questions
related to reception and meaning. Scholars from inside musicology have
responded by importing into musicological discussion various aspects of
cultural theory. It is in that tradition that this book lies, although
its focus is slightly different. What is missing from the field, at
present, is a coherent development of the what into the so what of music
theory and analysis into questions of interpretation and hermeneutics.
It is that fundamental gap that this book seeks to fill. Allan F. Moore
presents a study of recorded popular song, from the recordings of the
1920s through to the present day. Analysis and interpretation are
treated as separable but interdependent approaches to song. Analytical
theory is revisited, covering conventional domains such as harmony,
melody and rhythm, but does not privilege these at the expense of
domains such as texture, the soundbox, vocal tone, and lyrics. These
latter areas are highly significant in the experience of many listeners,
but are frequently ignored or poorly treated in analytical work. Moore
continues by developing a range of hermeneutic strategies largely drawn
from outside the field (strategies originating, in the most part, within
psychology and philosophy) but still deeply r
