fbpx

Switched on pop

Introducción: Conectados al pop

  • Aron, H. (24 de agosto de 2018). How Sia Saved Herself. Rolling Stone.
  • Hall, S. (1981). Notes on Deconstructing “the Popular”. En R. Samuel (Ed.), People’s History and Socialist Theory. Routledge.
  • Harding, H., Sloan, N. (Anfitriones). (19 de septiembre de 2018). The Side Effects of Pop Music with Emily Warren (Nº 94) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/94-the-side-effects-of-pop-music-with-emily-warren
  • Pallet, O. (25 de marzo de 2014). Skin Tight Jeans and Syncopation. Slate.

1. No queréis escucharme, solo queréis bailar

2. Las inconfundibles melodías de una estrella

  • «Josquin utilizó esta combinación melódica un total de 704 veces»: Sabemos este número exacto gracias a los esfuerzos del Josquin Research Project (josquin.stanford.edu), un equipo liderado por los musicólogos Jesse Rodin, Craig Sapp y Clare Bokulich, que ha digitalizado y hecho accesible cada nota escrita por el gran compositor de música litúrgica católica. Solo podemos imaginar lo que se descubrirá sobre las inclinaciones melódicas de otros artistas una vez que los académicos creen el Taylor Swift Research Project (o el Beyoncé Research Project, el Michael Jackson Research Project, etc.). Hasta entonces, habrá que conformarse con una metodología menos científica, es decir, escuchar atentamente una gran cantidad de música.

4. Cuando el drop irrumpió en la canción pop

5. Una voz sin rostro

  • Agawu, K. (2016). The African imagination in music. Oxford University Press.

7. Lo que hace que el pop sea tan pegadizo

  • Austin, D., Peterik, J. y Lynn, C. (2010). Songwriting for dummies. Wiley.
  • Everett, W. (1999). The Beatles as Musicians: Revolver through the Anthology. Oxford University Press.
  • Feeney, N. (2014). Ariana Grande Is Fully Aware That the Lyrics of ‘Break Free’ Make No Sense. Time. time.com/3088143/ariana-grande-break-free-lyrics/
  • Guerrieri, M. (2014). The first four notes: Beethoven’s Fifth and the Human Imagination. Vintage.
  • Heath, C. (2018). Quincy Jones Has a Story about That. GQ. www.gq.com/story/quincy-jones-has-a-story
  • Kronengold, C. (2005). Accidents, hooks and theory en Perchard, T. (Ed.), From Soul to Hip Hop. Routledge.
  • Peres, A. [@Top40Theory]. (30 de septiembre de 2018). Twitter. x.com/Top40Theory/status/1046482924567171073
  • Seabrook, J. (2015). The Song Machine: Inside the Hit Factory. W.W. Norton.

8. La verdad no siempre rima

  • Auden, W. H. (1989). The Dyer’s Hand and Other Essays. Vintage.
  • Clean Bandit featuring Demi Lovato. (2018). Solo [Canción]. En What Is Love? (Deluxe). Atlantic Records.
  • Furia, P. (1992). The Poets of Tin Pan Alley: A History of America’s Great Lyricists. Oxford University Press.
  • GZA. (2015). The Lost Art of Lyricism. Medium. medium.com/cuepoint/gza-speaks-the-lost-art-of-lyricism-ee84510e7268
  • Gracias a Mike Posner por destacar esta letra de la canción de 2013 ‘Acid Rain’ cuando estuvo como invitado en Switched On Pop. Harding, H., Sloan, N. (Anfitriones). (28 de noviembre de 2018). Entering Beard Phase with Mike Posner (Nº 99) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/entering-beard-phase-with-mike-posner
  • Harding, H., Sloan, N. (Anfitriones). (4 de noviembre de 2014). Hotline Hello: Drake and Adele (Nº 23) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/23-love-on-hold-with-drake-and-adele
  • Hassan, A. y Kopf, D. (2018). The Reason Why Your Favorite Pop Songs Are Getting Shorter. Quartz. qz.com/quartzy/1438412/the-reason-why-your-favorite-pop-songs-are-getting-shorter
  • Hirjee, H. y Brown, D. G. (2010). Using Automated Rhyme Detection to Characterize Rhyming Style in Rap Music. Empirical Musicology Review, 5(4).
  • Reynolds, S. (2018). How Auto-Tune Revolutionized the Sound of Popular Music. Pitchfork. pitchfork.com/features/article/how-auto-tune-revolutionized-the-sound-of-popular-music/
  • Sacks, O. (2007). Musicophilia: Tales of Music and the Brain. Knopf.
  • Sondheim, S. (1995). Night Waltz 1 [Canción]. En A Little Night Music.
  • Sondheim, S. (2010). Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes. Knopf.
  • Suisman, D. (2009). Selling sounds: The commercial revolution in American music. Harvard University Press.
  • The Black Eyed Peas. (2005). My Humps [Canción]. En Monkey Business. A&M, Interscope Records.
  • Thicke, R. (2013). Blurred Lines [Canción]. En Blurred Lines. Star Trak, Interscope.

9. Borrachera de ritmo

10. La música te eleva

  • Anthony, J. R. (1997). French Baroque Music from Beaujoyeulx to Rameau. Amadeus Press.

11. La identidad adecuada

  • Frith, S. (2001). Pop Music en The Cambridge Companion to Pop and Rock (p. 94). Cambridge University Press.
  • Hall, S. (2015). Cultural Identity and Diaspora en Jonathan Rutherford (Ed.), Colonial discourse and post-colonial theory (p. 222). Routledge.
  • Hamm, C. (1997). Irving Berlin: Songs from the melting pot: The formative years, 1907-1914. Oxford University Press.
  • Klosterman, C. (2006). Chuck Klosterman IV: A decade of curious people and dangerous ideas. Simon and Schuster.
  • McClary, S. (2002). Feminine Endings: Music, Gender, and Sexuality. University of Minnesota Press.
  • Megan Lavengood (29 de octubre-1 de noviembre de 2015). ‘Oops!… I Did It Again’: Max Martin’s Complement Chorus [Presentación]. Runión anual N. 38 de la Society for Music Theory, San Luis, Misuri.
  • Meier, L. (2017). Popular music as promotion: Music and branding in the digital age. Polity.
  • Nicols, N. (2000). Review: Britney Spears’ ‘Oops!… I Did It Again’. Los Angeles Times. www.latimes.com/la-et-britney-review-oops-did-it-link-story.html
  • Powers, A. (2018). Women on the Verge: At the End of the ‘90s, a Few Artists Set the Stage for a New Era. NPR Music. www.npr.org/2018/07/31/633968702/women-on-the-verge-at-the-end-of-the-90s-a-few-artists-set-the-stage-for-a-new-e
  • Symonds, D. (2015). We’ll Have Manhattan: The Early Work of Rodgers & Hart. Oxford University Press.
  • Thompson, S. (2000). Britney Spears: Oops…! I Did it Again. AV Club. www.avclub.com/britney-spears-oops-i-did-it-again-1798192389

12. ¿Es delito el collage?

13. Shock, asombro y síntesis

  • Clarke, E. (2013). Music Space and Subjectivity en Born, G. (Ed.), Music, Sound and Space: Transformations of Public and Private Experience (p. 95). Cambridge University Press.

14. Buscando un hogar en la diáspora armónica

  • Byrne, D. (2012). How Music Works. McSweeney’s.

15. ¿Existe un sonido del pop?

  • Johnston, M. (2018). ‘Since U Been Gone’: The Crossover Pop Needed, The Anthem Rock Deserved. NPR. www.npr.org/2018/08/30/643017969/american-anthem-since-u-been-gone-kelly-clarkson-pop-rock-crossover
  • 16. Escucho de todo… menos country y hip hop
  • Agawu, V. K. (2014). Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton University Press.
  • Chang, J. (2007). Can’t Stop Won’t Stop: A History of the Hip Hop Generation. St. Martin’s Press.
  • Cobb, W. J. (2008). To the Break of Dawn: A Freestyle on the Hip Hop Aesthetic. New York University Press.
  • Guralnick, P. (1999). Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom. Black Bay Books.
  • Guthman, J. (2015). Strangers Below: Primitive Baptists and American Culture. University of North Carolina Press.
  • Hubbs, N. (2014). Rednecks, Queers, and Country Music. University of California Press.
  • Miller, K. H. (2010). Segregating Sound. Duke University Press.
  • Neal, J. (2018). The Twang Factor in Country Music en Fink, R., Latour, M., Wallmark, Z., The Relentless Pursuit of Tone. Oxford University Press.
  • Thomas, T. (2013). Why African Americans Put the Banjo Down en Pecknold, D. (Ed.), Hidden in the Mix: The African American Presence in Country Music. Duke University Press.

×

Carrito