Keynote: popular music studies / jazz studies #iaspm2017

André Doehring: Institute for Jazz Research, University of Music and Performing Arts Graz, Austria

Fish and fowl? Mapping the no-man’s-land between popular music studies and jazz studies


Louis Armstrong stated many times that he loved Guy Lombardo’s Royal Canadians. Was he more open-minded than some jazz and pop musicologists? [spoiler: yes]
OUTLINE: In his article ‘Is jazz popular music?”, Simon Frith (2007: 10) has noticed that the “separation of jazz and popular music studies is an indisputable fact of academic life”. Indeed, due to their historically different developments, both disciplines have established sets of aesthetic norms, separate institutional bases, and specific methods to identify and cope with the musics they have found worth studying. Recently, Matt Brennan (2017) has shown the influence of music journalism on these scholarships. Ultimately, both succeeded – more (jazz studies) or less (popular music studies), at least in the German-speaking world – as distinctive disciplines with developed curricula. 

This keynote argues, by pointing to examples throughout the history of recorded music, that this neat division of the musical world is precarious because it prevents a fertile exchange between jazz and popular music studies; for instance, the development of (still) so-called New Jazz Studies during the last twenty years has only occasionally led to serious discussion in the popular music field. Moreover, this separation excludes a lot of musics, musicking and musicians in between these two fields. In particular, by using an example from the realm of electronic dance music, the lecture advocates a joint effort to fill the void in between the front lines of jazz and popular music that, potentially, may lead to structural changes in teaching and researching jazz and popular music.


BIO: André Doehring is professor for jazz and popular music research and head of the Institute for Jazz Research at the University of Music and Performing Arts in Graz (Austria). Before, he has been assistant professor at the University of Gießen (Germany) where he received his doctorate in musicology and had studied musicology and sociology. He is president of the International Society for Jazz Studies (IGJ), member of the scientific board of the German Society for Popular Music Studies (GfPM), co-editor of GfPM’s online journal Samples and since 2017 of IGJ’s yearbook Jazz Research and Studies in Jazz Research. His main research topics are the social histories and historiographies of popular music and jazz, analysis, and music and media. Currently, he is involved into establishing a European network for transnational jazz studies.

PUBLICATIONS: Song Interpretations in 21st Century Pop Music (Eds. Appen/Doehring/Helms/Moore, Ashgate, 2015); “Andrés’s ‘New For U’ – new for us. On analysing electronic dance music” (Ashgate 2015); “Modern Talking, musicology and I: analysing the forbidden fruit” (Routledge 2016); “Male journalists as ‘artists’: the ideological production of recent popular music journalism” (Éditions des Archives Contemporaines 2017).

[with apologies to André for not hearing the start due to background noise as people came in]

André laments the relative historical disinclination of academe to be prepared to engage musicologically with pop and jazz. He states that there is still a percentage bias against non-classical musics, citing as evidence the tiny proportion of popular (as opposed to classic) musicology professorships in German universities. He leads us through the history of some pioneers, including Marshall Stearns, who founded the Institute for Jazz Studies in 1953 New Jersey, USA.  We are led through the gradual growth of jazz studies in (mainly US) Higher Education from the 1950s onward.

PopMAC day 3: Applying melodic analysis to infer the extent of plagiarism #popmac

Applying melodic analysis to infer the extent of plagiarism in popular song authorship disputes. Joe Bennett, Bath Spa University

This is my own paper. I’ll publish the slides online  soon, but for now I’ve posted the references, as a few people requested today. I hope to publish something more substantial on this work in 2014. For context, here are a couple of links to my previous research into songwriting creativity;

  • Bennett, Joe. “Constraint, Collaboration and Creativity in Popular Songwriting Teams.” In The Act of Musical Composition: Studies in the Creative Process, edited by David Collins, 139–169. SEMPRE Studies in The Psychology of Music. Ashgate, 2012.  Download pdf
  • Bennett, Joe. “Collaborative Songwriting – the Ontology of Negotiated Creativity in Popular Music Studio Practice.” In Journal of the Art of Record Production 2010. Leeds, UK: Art of Record Production, 2011. Download pdf (English) • Download pdf (Spanish)



Bently, Lionel. “Authorship Of Popular Music in UK Copyright Law.” Information, Communication & Society 12, no. 2 (March 2009): 179–204.

Boden, Margaret. The Creative Mind : Myths and Mechanisms. 2nd ed. Routledge, 2004.

Cason, R. J. S., and D. Müllensiefen. “Singing from the Same Sheet: Computational Melodic Similarity Measurement and Copyright Law.” International Review of Law, Computers & Technology 26, no. 1 (2012): 25–36.

Cronin, Charles. “Music Copyright Infringement Resource – Sponsored By USC Gould School of Law,” 2002.

Csikszentmihalyi, Mihaly. “Society, Culture, and Person: a Systems View of Creativity.” In The Nature of Creativity : Contemporary Psychological Perspectives, 325–339. CUP 1988.

Demers, Joanna. Steal This Music – How Intellectual Property Law Affects Musical Creativity.  University of Georgia Press, 2006.

Melodic Similarity: Concepts, Procedures, and Applications. Computing in Musicology 11. Cambridge, Mass. : Stanford, CA: MIT Press ; CCARH, Stanford University, 1998.

Lund, J. “An Empirical Examination of the Lay Listener Test in Music Composition Copyright Infringement.” (2012).

Melodic Similarity: Concepts, Procedures, and Applications. Computing in Musicology 11. MIT Press, 1998.

Temperley, David. Music and Probability. MIT Press, 2007.

PopMAC Day 3: 42 years of Popular Music Analysis Teaching in 21 minutes #popmac

Tagg screenshotPopMAC Day 3: 42 years of Popular Music Analysis Teaching in 21 Minutes (2 years per minute). Philip Tagg #popmac

Philip accepts the ambitious timescale of today’s title, so states his intention to take an historical overview. Overview – Background and aim; ‘Tonality’; ‘Time’; ‘Totality’ or ‘form’; and ‘Que faire?’. He provides a brief CV in three acts – from practitioner and teacher with an increasing analytical approach since the 1970s. EPMOW articles came out 1998-2001 (encyclopedia of Popular Music of the World). He then notes the different undergraduate courses available (e.g. at Liverpool) – and highlights the problem of classification (using a wonderful ‘precipitation’ analogy). The history of tonal language, comparing variously ‘modal’, ‘pre-tonal’, ‘euroclassical’ and various arguably ‘post-tonal’ languages, which he asserts are not linear, observing that this is less a spectrum than an orbit as regards the analytical language of tonality.

Tonal terminology was naturally historically developed to define monometric music whose pitches divide tonally/chromatically into the octave, and that this is its strength and its limitation. We see some basic definitions with etymological language derivatives;

PopMAC day 3: Yes, the Psychedelic-Symphonic Cover, and ‘Every Little Thing’ #popmac

Yes, the Psychedelic-Symphonic Cover, and ‘Every Little Thing’. John Covach (University of Rochester)

[abstract] The 1969 debut album of the British band Yes contains a cover version of the Beatles ‘Every Little Thing’. The original Beatles version runs just over two minutes, while the Yes version extends the song to almost six minutes. The practice of taking a short pop song and developing it into more extended piece was perhaps made most famous by the American band, Vanilla Fudge, whose 1968 version of the Supremes ‘You Keep Me Hangin On’ (1966) clocks in at well over seven minutes. Inspired by Vanilla Fudge, Yes created a series of psychedelic-symphonic cover versions of this type, including ‘I See You’, ‘Something’s Coming’, ‘No Opportunity Necessary’, ‘No Experience Needed’, ‘Everydays’, and ‘America’.

This paper will examine how Yes’s version of ‘Every Little Thing’ is developed from the Beatles’ song, at times jamming on a static harmony, at other times developing melodic and harmonic ideas from the song itself, and ultimately recasting the actual sung parts of the original tune to amplify some of the characteristics present in the original. The practices found in this song will be compared to passages from the other Yes covers, as well as to the Yes originals that would soon dominate the band’s output. It will be argued that the practice of the psychedelic-symphonic cover becomes a part of the band’s composing process for epic numbers such as ‘Close to the Edge’ and ‘Awaken’, complex numbers that grow out of simple pop songs.

John’s paper opens with an outline of his approach – that he intends to focus exclusively on cover versions by Yes. Their practice in this early work was to develop complex extended arrangements based on very simple pop song originals; this approach was modelled on the covers of Vanilla Fudge.

PopMAC day 3: Analyzing Bad Music. Willemien Froneman #popmac

Analyzing Bad Music. Willemien Froneman (Stellenbosch University)

[abstract] Boeremusiek, a genre of predominantly white folk music in South Africa, is in many respects a fascinating topic of study. Its weird and wonderful anecdotal tradition and vibrant events offer rich opportunities for the analysis of postcolonial politics, race and class. Accordingly, my previous work on boeremusiek has focused mainly on the social, cultural and political contexts of boeremusiek. Kofi Agawu s 1997 attack on the new musicology, however, keeps ringing in my ears: that new musicologists have so far not found a use for the surplus of detail that theory-based analysis produces . Although Agawu was speaking about Western art music here, his arguments are no less relevant for the analysis of popular music. In the case of boeremusiek this surplus of detail is especially problematic. In many ways, boeremusiek aspires to an aesthetic of amateurism: participation is more important than tuning, for example, and loudness trumps the importance of careful sound engineering. Even accomplished musicians seem to hide their musical prowess in group contexts. Although the badness of boeremusiek has distinct and interesting socio-cultural meanings, there is no precedent for analyzing the musical surface of bad music. In this paper, I am after a hermeneutics of badness. To this end, I am willing to go against the grain of ethnomusicological ethics. By focussing on flaw rather than merit, I hope to draw new connections between ethnographic and musical analyses.

PopMAC day 2: Computer Assisted Analysis of the Music of Elton John #popmac

Elton JohnComputer Assisted Analysis of the Music of Elton John. Rupert Till & Phillip Allcock (University of Huddersfield)

[abstract] This paper explores what part computational methods can play in the analysis of popular music, and how they can be combined with other approaches to form a better understanding of the analytical subject. This project investigates the use of Humdrum, a powerful computer toolkit that in the past has mostly been used to analyse classical music. Although it uses musical scores as its source, It offers a high level of flexibility, and can provide valuable objective data about musical content.

The music of Elton John is used as a case study, and the use of traditional musicological analytical tools is compared with computational methods, as is what other approaches might be required to deal with cultural issues such as gender, identity, and sexuality. The value of Humdrum in exploring the changes in musical style between the four distinct eras of Elton John s music is discussed.

PopMAC day 2: This Record is Dedicated to Me: Rufus Wainwright’s Ego. Katherine Williams #popmac

RufusThis Record is Dedicated to Me: Rufus Wainwright’s Ego. Katherine Williams (Leeds College of Music)

[abstract] Canadian-American singer-songwriter Rufus Wainwright comes from a long family tradition of publicly expressing emotion and anxiety through song. While Wainwright does not explicitly continue the pattern established by his mother (folk singer Kate McGarrigle) and father (folk singer Loudon Wainwright III), the majority of his songs use the first-person singular pronoun. In combination with the increasing prominence of his voice in the production of subsequent albums, this adds up to an overblown sense of ego and identity. This exaggerated ego is emphasized by the visual and musical flamboyance of Wainwright’s musical performances and output. Many of his songs contain explicit or indirect references to opera and the classical music tradition, which offers another avenue for drama and excess. His 2009 opera Prima Donna brought his name and music to new audiences, and is revealing (in subject matter and idiom) of his perception of himself as a leading figure in multiple musical styles.

In this paper, I will explore my hypothesis that the increasing prominence of Wainwright’s voice in the produced mix through his seven studio albums can be attributed to his ego and his growing comfort with his place in celebrity culture. By combining detailed analysis of his output with the philosophical perspectives of Barthes and Freud, alongside Allan Moore’s and Ruth Dockwray’s work on the ‘soundbox’ and the spatialisation of recorded sound, I will relate Wainwright’s sense of self to his music, providing a new perspective on the role of autobiography in indie rock.

Katherine’s paper begins biographically, describing Rufus personal and cultural background. We hear ‘Danny Boy’ – a track from the eponymous debut album (1998), and see an analysis of its soundfield (after the work of Dockwray and Moore). By 2001, with the second album Poses RW had embraced the ‘pop star lifestyle’; the vocal is higher in the mix and this is inferred to be a representation of a rising egocentricity in the approach. Katherine notes many different producers for Poses and we hear an audio excerpt of the title track. The number of in-jokes on the album’s credits are noted and briefly discussed.