國立虎尾科技大學 |

Sounds on Recordings, Notes on Paper : = Transcribing Popular Music in the Rock Era.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Sounds on Recordings, Notes on Paper :/
其他題名:	Transcribing Popular Music in the Rock Era.
作者:	Hallenbeck, Alexander James.
面頁冊數:	1 online resource (313 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
Contained By:	Dissertations Abstracts International85-04A.
標題:	Musical composition. -
電子資源:	click for full text (PQDT)
ISBN:	9798380588744

Sounds on Recordings, Notes on Paper : = Transcribing Popular Music in the Rock Era.
Hallenbeck, Alexander James.

Sounds on Recordings, Notes on Paper :Transcribing Popular Music in the Rock Era. - 1 online resource (313 pages)

Source: Dissertations Abstracts International, Volume: 85-04, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2023.

Includes bibliographical references

Though popular music in the twentieth century was often disseminated aurally through recordings, transcribers have reified these sounds into musical notation to aid in analysis and re-performance. Today, musicians use myriad types of transcriptions-online tabs, lead sheets, and note-for-note sheet music-to help them understand and learn their favorite songs. This dissertation narrates the emergence of these transcriptions among different genres during the Rock Era, a period stretching from the late 1950s through the late 1970s. Detailed transcriptions were far less common then than now: some were created to secure copyright protection, while others helped musicians gain competency in a certain performance style. By the 1980s, however, many transcriptions started being published as exquisitely crafted musical works that could stand in for their model-the recording. I argue that these documents are most often influenced by classical music aesthetics, as transcribers borrow from this tradition to legitimize popular music at a time when it remained outside the purview of the musical academy.In Chapter 1, I explore the ontology of musical transcriptions, focusing particularly on the relationship between transcriptions and musical works in the genres I study in subsequent chapters: jazz, the blues, and rock. Chapter 2 studies Gunther Schuller's transcriptions of Ornette Coleman's free jazz; one example translates Coleman's improvisation into a "coherent" musical artifact, elevating him to Western art music standards and problematically occluding other musical inheritances. Chapter 3 provides an overview of the different varieties of guitar transcriptions in this era; I profile key blues guitar pedagogues and transcribers, Happy Trauma and Stefan Grossman, and then scrutinize various publications of Jimi Hendrix's guitar music. I examine The Frank Zappa Guitar Book in Chapter 4, a collection of exceptionally detailed (and overly complex) transcriptions of Zappa's guitar improvisations undertaken by young Steve Vai that serve to impart a sheen of legitimacy on Zappa's music, aligning his improvised compositions with his written ones. My conclusion explains the proliferation of note-for-note transcriptions at the end of the 1980s, a trend that stems from the popularity of neoclassical metal and the emerging treatment of canonic rock music as "generational objects.".

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380588744Subjects--Topical Terms:

1185732
Musical composition.
Subjects--Index Terms:

Guitar pedagogyIndex Terms--Genre/Form:

554714
Electronic books.

Sounds on Recordings, Notes on Paper : = Transcribing Popular Music in the Rock Era.
LDR:03816ntm a22004097 4500 001 1146997
005 20240819061925.5
006 m o d
007 cr bn ---uuuuu
008 250605s2023 xx obm 000 0 eng d
020 $a 9798380588744
035 $a (MiAaPQ)AAI30689150
035 $a AAI30689150
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Hallenbeck, Alexander James. $3 1472579
245 1 0 $a Sounds on Recordings, Notes on Paper : $b Transcribing Popular Music in the Rock Era.
264 0 $c 2023
300 $a 1 online resource (313 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
500 $a Advisor: Fink, Robert;Morris, Mitchell.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2023.
504 $a Includes bibliographical references
520 $a Though popular music in the twentieth century was often disseminated aurally through recordings, transcribers have reified these sounds into musical notation to aid in analysis and re-performance. Today, musicians use myriad types of transcriptions-online tabs, lead sheets, and note-for-note sheet music-to help them understand and learn their favorite songs. This dissertation narrates the emergence of these transcriptions among different genres during the Rock Era, a period stretching from the late 1950s through the late 1970s. Detailed transcriptions were far less common then than now: some were created to secure copyright protection, while others helped musicians gain competency in a certain performance style. By the 1980s, however, many transcriptions started being published as exquisitely crafted musical works that could stand in for their model-the recording. I argue that these documents are most often influenced by classical music aesthetics, as transcribers borrow from this tradition to legitimize popular music at a time when it remained outside the purview of the musical academy.In Chapter 1, I explore the ontology of musical transcriptions, focusing particularly on the relationship between transcriptions and musical works in the genres I study in subsequent chapters: jazz, the blues, and rock. Chapter 2 studies Gunther Schuller's transcriptions of Ornette Coleman's free jazz; one example translates Coleman's improvisation into a "coherent" musical artifact, elevating him to Western art music standards and problematically occluding other musical inheritances. Chapter 3 provides an overview of the different varieties of guitar transcriptions in this era; I profile key blues guitar pedagogues and transcribers, Happy Trauma and Stefan Grossman, and then scrutinize various publications of Jimi Hendrix's guitar music. I examine The Frank Zappa Guitar Book in Chapter 4, a collection of exceptionally detailed (and overly complex) transcriptions of Zappa's guitar improvisations undertaken by young Steve Vai that serve to impart a sheen of legitimacy on Zappa's music, aligning his improvised compositions with his written ones. My conclusion explains the proliferation of note-for-note transcriptions at the end of the 1980s, a trend that stems from the popularity of neoclassical metal and the emerging treatment of canonic rock music as "generational objects.".
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Musical composition. $3 1185732
650 4 $a Pedagogy. $3 1148703
650 4 $a Music. $3 649088
650 4 $a Music history. $3 1179487
653 $a Guitar pedagogy
653 $a Jazz history
653 $a Musical notation
653 $a Ontology
653 $a Transcription
655 7 $a Electronic books. $2 local $3 554714
690 $a 0208
690 $a 0214
690 $a 0456
690 $a 0413
710 2 $a University of California, Los Angeles. $b Musicology 0604. $3 1472580
710 2 $a ProQuest Information and Learning Co. $3 1178819
773 0 $t Dissertations Abstracts International $g 85-04A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30689150 $z click for full text (PQDT)