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LEADER 05399cam 2200349 a 4500

001 ocm18071070;

005 20141212074953.0;

008 871022s1989 enkg b 001 0 eng ;

010 a| 87028794;

020 a| 0193161214 :c| £25.00 ($37.50 U.S.);

035 a| (Sirsi) o18071070;

035 a| (OCoLC)18071070;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML3470b| .V36 1989;

082 00 a| 780/.42/092| 19;

100 1 a| Van der Merwe, Peter.=| ^A252127;

245 10 a| Origins of the popular style :b| the antecedents of twentieth- century popular music /c| Peter van der Merwe.;

300 a| xiii, 352 pages :b| music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 306-318) and index.;

505 0 a| Introduction. Words, words, words -- Part one. The historical background. Europe and the near East. The old high culture (Antiquity ; The Arab world of the middle ages) ; Europe (Some thoughts on the great musical schism) ; British folk music (Stanza forms ; Regional differences) -- Africa. The debt to Africa (The Afro-Arab culture ; Other African styles) ; Some fundamentals of African music (The purpose of music ; Music and motion ; Speech, song, and instrumental sounds ; End-orientation and end-repetition ; The sense of dialogue ; Note-position versus note-length) -- North America. The whites (The Scotch-Irish ; The Catholic Irish ; French, Spanish, and others) ; The blacks ; Instrumental music (African survivals) ; Vocal music (Worksongs ; Sea shanties ; Spirituals ; Dance songs ; Ballads and blues ; African survivals) -- Part two. The theoretical foundation. The matrix (The subjectivity of the matrix ; The life of the matrix ; Matrix combinations ; Matrices and rules) ; Modality (Shifting tonics and note frames ; Floor notes and ceiling notes ; Degrees of emphasis) ; Wholeness ; The beat -- Part three. The blues. The uniqueness of the blues. The place of the blues in American music ; The blues mode and the twelve-bar forms (The blue notes ; Melodic dissonance ; The ladder of thirds ; The blue fifth ; Blue sevenths and sixths ; The blues mini-modes ; The twelve-bar form) -- African origins of the blues. The blues mode in Africa (Pendular thirds ; Focus contrast ; The triadic mode ; Arabic influences ; Praise songs and sermons ; The tapering pattern and the twelve-bar blues) ; The talking blues ; Blues accompaniment (The descending strain as accompaniment figure) ; Afro-American rhythm (The West African background ; Cross-rhythms ; The United States) -- British origins of the blues. The blues mode in Britain (The blue third ; The blue seventh ; The ladder of thirds) ; The twelve-bar blues: Frankie and others (The Frankie-Boll Weevil family ; Proto-rock and roll ; Pretty Polly and Po' Lazarus ; John Henry and the ten-bar blues) -- Blues harmony. The history of Gregory Walker (The birth of Gregory Walker ; Gregory Walker and the twelve-bar blues ; Some eight-bar patterns) ; More about primitive harmony (Pendular harmony ; Levels and shifts) -- The riddle of the twelve-bar blues. The strange triumph of the blues ; Why twelve bars? Why blues? (Why twelve bars? ; Why blues? ; The problem of completeness ; Epilogue to the blues) -- Part four. Parlour music and ragtime. The parlour modes (The fury of Sir Hubert Parry ; The beginnings of the parlour modes ; The estrangement of melody and harmony ; The pseudo-Phrygian mode and the white paternoster ; The parlour modes and folk music ; The parlour modes and the classics) ; Parlour harmony (Tonality ; Modality and modulation ; Sequences ; Arpeggios ; Cadences ; Decorative chromaticism ; Tonic sevenths) ; Parlour rhythm (Syncopations in the classics) ; Ragtime (How jigs became rags ; Ragtime and the blues) -- Some final reflections -- Glossary.;

520 a| "Here, for the first time, is a book which analyses popular music from a musical, as opposed to a sociological, biographical, or political point of view. Peter van der Merwe has made an extensive survey of Western popular music in all its forms--blues, ragtime, music hall, waltzes, marches, parlour ballads, folk music--uncovering the common musical language which unites these disparate styles. The book examines the split between "classical" and "popular" Western music in the nineteenth and early twentieth centuries, shedding light, in the process, on the "serious" music of the time. With a wealth of musical illustrations ranging from Strauss waltzes to Mississippi blues and from the Middle Ages to the 1920s, the author lays bare the tangled roots of the popular music of today in a book which is often provocative, always readable, and outstandingly comprehensive in its scope.;

650 0 a| Popular musicx| History and criticism.=| ^A35070;

650 0 a| Blues (Music)x| History and criticism.=| ^A24598;

919 a| BOOK;

596 a| 3;

998 a| 357766;

999 a| ML3470 .V36 1989w| LCc| 1i| 30372005488629d| 6/27/2016e| 5/14/2013f| 7/16/2025g| 4l| MCSm| JMUSICn| 3r| Ys| Yt| MCSSBKu| 8/7/1990x| BOOKz| MCIRCo| .STAFF. enhanced 9/21/25 -jjabo| .STAFF. Pros for weeding: 3 checkouts since 1990 (latest 2013), pop music origins, 20+ pbk copies available. Cons: Hardcover rare, lack of 505/520 impeded access for 30 years.;

Origins of the popular style : the antecedents of twentieth- century popular music / Peter van der Merwe.

Author/creator	Van der Merwe, Peter
Format	Book
Publication Info	Oxford : Clarendon Press ; New York : Oxford University Press, 1989.
Description	xiii, 352 pages : music ; 24 cm
Subjects	Popular music--History and criticism. Blues (Music)--History and criticism.

Contents	Introduction. Words, words, words -- Part one. The historical background. Europe and the near East. The old high culture (Antiquity ; The Arab world of the middle ages) ; Europe (Some thoughts on the great musical schism) ; British folk music (Stanza forms ; Regional differences) -- Africa. The debt to Africa (The Afro-Arab culture ; Other African styles) ; Some fundamentals of African music (The purpose of music ; Music and motion ; Speech, song, and instrumental sounds ; End-orientation and end-repetition ; The sense of dialogue ; Note-position versus note-length) -- North America. The whites (The Scotch-Irish ; The Catholic Irish ; French, Spanish, and others) ; The blacks ; Instrumental music (African survivals) ; Vocal music (Worksongs ; Sea shanties ; Spirituals ; Dance songs ; Ballads and blues ; African survivals) -- Part two. The theoretical foundation. The matrix (The subjectivity of the matrix ; The life of the matrix ; Matrix combinations ; Matrices and rules) ; Modality (Shifting tonics and note frames ; Floor notes and ceiling notes ; Degrees of emphasis) ; Wholeness ; The beat -- Part three. The blues. The uniqueness of the blues. The place of the blues in American music ; The blues mode and the twelve-bar forms (The blue notes ; Melodic dissonance ; The ladder of thirds ; The blue fifth ; Blue sevenths and sixths ; The blues mini-modes ; The twelve-bar form) -- African origins of the blues. The blues mode in Africa (Pendular thirds ; Focus contrast ; The triadic mode ; Arabic influences ; Praise songs and sermons ; The tapering pattern and the twelve-bar blues) ; The talking blues ; Blues accompaniment (The descending strain as accompaniment figure) ; Afro-American rhythm (The West African background ; Cross-rhythms ; The United States) -- British origins of the blues. The blues mode in Britain (The blue third ; The blue seventh ; The ladder of thirds) ; The twelve-bar blues: Frankie and others (The Frankie-Boll Weevil family ; Proto-rock and roll ; Pretty Polly and Po' Lazarus ; John Henry and the ten-bar blues) -- Blues harmony. The history of Gregory Walker (The birth of Gregory Walker ; Gregory Walker and the twelve-bar blues ; Some eight-bar patterns) ; More about primitive harmony (Pendular harmony ; Levels and shifts) -- The riddle of the twelve-bar blues. The strange triumph of the blues ; Why twelve bars? Why blues? (Why twelve bars? ; Why blues? ; The problem of completeness ; Epilogue to the blues) -- Part four. Parlour music and ragtime. The parlour modes (The fury of Sir Hubert Parry ; The beginnings of the parlour modes ; The estrangement of melody and harmony ; The pseudo-Phrygian mode and the white paternoster ; The parlour modes and folk music ; The parlour modes and the classics) ; Parlour harmony (Tonality ; Modality and modulation ; Sequences ; Arpeggios ; Cadences ; Decorative chromaticism ; Tonic sevenths) ; Parlour rhythm (Syncopations in the classics) ; Ragtime (How jigs became rags ; Ragtime and the blues) -- Some final reflections -- Glossary.
Abstract	"Here, for the first time, is a book which analyses popular music from a musical, as opposed to a sociological, biographical, or political point of view. Peter van der Merwe has made an extensive survey of Western popular music in all its forms--blues, ragtime, music hall, waltzes, marches, parlour ballads, folk music--uncovering the common musical language which unites these disparate styles. The book examines the split between "classical" and "popular" Western music in the nineteenth and early twentieth centuries, shedding light, in the process, on the "serious" music of the time. With a wealth of musical illustrations ranging from Strauss waltzes to Mississippi blues and from the Middle Ages to the 1920s, the author lays bare the tangled roots of the popular music of today in a book which is often provocative, always readable, and outstandingly comprehensive in its scope.
Bibliography note	Includes bibliographical references (pages 306-318) and index.
LCCN	87028794
ISBN	0193161214 :

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Music	Closed Stacks - Ask at Circulation Desk	ML3470 .V36 1989	✔ Available	Place Hold

Origins of the popular style : the antecedents of twentieth- century popular music / Peter van der Merwe.

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