Philip Tagg's Audiovisual Stuff
Home page at this website (Philip Tagg, Liverpool)        
updated 2015-10-19         
Music’s Meanings

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Most videos listed below are stored on this site ( and in *.webm format. They should play automatically when you click the thumbnails in the left column or the text links in the right column, below. Videos available on YouTube are flagged ‘[also on YouTube]’, those on Vimeo ‘[on Vimeo].

If a video listed below does not play immediately when you click the desired link, try one (or more) of the following tricks: [1] Use another internet browser; [2] install a different video streaming plugin for your preferred browser; [3] opt to view/hear the video on YouTube or Vimeo (if available); [4] right click the desired link and download the video file to your device: play it then from there.

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Tagg’s videos in reverse chronological order

[go to 2015 | 2014| 2013 | 2012 | 2011| 2010 | 2009| before 2009 | Kojak | Fernando | The Mission | railways | personal ] | r



J S Bach: ‘Great’ B minor prelude for organ, BWV 544, with synchronised scrolling notation [7:34 (w. credits)] [2015-10-19] [also on YouTube]

I stopped playing church organ when I was 19, but I have since then often heard this passionately anguished yet dignified and sometimes playful prelude in my head. When, 30 years later, I finally acquired an instrument allowing me to make this amazing Bach piece come to life again, I recorded it using my Korg M1 and MIDI editing software of the day. Maybe there’s a little too much 16' sometimes in my recording (and the reverb is certainly excessive) but I think this version has a lot of ‘go’ and I’m not ashamed to put it on line. If you enjoy it a quarter as much as I do, I’ll be delighted!

Go to top of file  Elis Regina: Palabvra de mulher (‘Vou voltar’) (with bilingual lyrics) [2:44] [2015-10-10]

I use this recording of a song by Chico Buarque and Tom Jobim —included on the soundtrack album Ópera do Malandro, a 1985 Brazilian approximation of The Beggar’s Opera— to illustrate the concept of vocal persona. Elis Regina passes with considerable vocal passion from nice confidante to wanton lover to psycho bitch to vulnerable little girl, etc., etc. This video material consists solely of timecode and of lyrics in both original Portuguese and in English translation so that students can note points at which Regina’s vocal persona changes..

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Legião Urbana Qué Pais

Legião Urbana: Faroeste Caboclo (with bilingual lyrics)  [9:20] [2015-08-21]
[also on YouTube, except Germany]

Original 9-minute studio audio track accompanied by complete synchronised lyrics in Portuguese with English translation (thanks to Bosco De Oliveiro). Musically somewhere between folk rock and punk, this song, consisting mainly of 42 8-bar verses in 4/4 time (c. 12 seconds each), seems to be in a simple folk ballad story-telling sort of form. That observation may apply largely to the tune's first 3 minutes, after which the backing starts to vary considerably in terms of instrumentation, groove, articulation and harmony. Renato Russo (lead vocalist) also exploits a whole range of vocal personae. All these variations underline the dramatic (comic and highly tragic) narrative of the lyrics. I intend to write an analysis of this piece. When it's done, this description will contain a hyperlink to whatever text I manage to produce. (Faroeste means the far West (the Wild West) and a caboclo is basically a Brazilian of mixed race (see Wikipedia)).

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Dansa dansa

Ingmar Nordstrands’ Dansa dansa and Swedish dansbandsmusik [ 7:31] [2015-05-12/2015-10-14 (webm) [also on YouTube]

Teaching material including one full example and a montage of several extracts illustrating one type of Swedish dansbandsmusik that has,,since the 1970s, been hugely popular all over Scandinavia. I intend to write an explanatory text about the importance, influence and, yes, interest of this type of music that was generally regarded as the epitome of uncool, as the depth of banality and of bad taste, by virtually every rock and jazz musician I met when living in Sweden (1966-1991), When I've written that piece, I'll put a hyperlink up here. Meanwhile, I hope this video will give you some enjoyable musical food for thought.

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Folk och rackare: Vänner & fränder
(Rackarspel, 1978) [4:51] [2015-04-28]
[also YouTube]

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Folk och rackare: Lussi Lilla (Rackarspel, 1978) [4:10] [2015-04-29]  [also on YouTube]

Arnolfinii Go to top of file
Arnolfini Marriage Portrait (‘dog’) & 007 chord: poïetic/aesthesic
[from Epistemic Diffraction] [1:35]

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007 end: Unequivocal Timecode Designation
(demo) [0:12] [from Epistemic Diffraction]

Go to top of file Fame Rock Academy Montage [1:08] (2015-01-15) [no YouTube]
Short, facetious montage of logos for rock academies, colleges and schools, all set to the theme tune from Fame.


Go to top of file Troubles with Tonal Terminology -1: What [the hell] is 'Tonality'?
[19:57] (2015-01-09) [also on YouTube]

An attempt to bring sense into central concepts of music theory so they can be usefully applied to other musics than only those of the euroclassical and jazz canons. The silly use of "atonal' and of the absurd binary "tonality v. modality" are two topics of focus in this first in a series of videos about the terminological trouble with conventional Western music theory.

Go to top of file Timbre: envelope ADSR, 4 examples [1:09] (2014-10-08) [also on YouTube]
Very short clip in which four instrumental sounds (analogue synth pad, gong, piano and symphonic strings).demonstrate, very simply, the four phases of the ADSR envelope (gong and piano just Attack and Decay).

Guantanamera endings

Go to top of file Guantanamera Endings [2:29] (2014-07-27) [also on YouTube]

Endings in 4 versions of Guantanamera: [1] Joseito Fernandez; [2] Célia Cruz & Tito Puente; [3] Pete Seeger; [4] The Sandpipers. Does it go from I to V or from IV to I? Or neither? Or both?

Gaston Bière Cigarette

Go to top of file Gilles Vigneault, Gaston Rochon: Tout l’monde est malheureux [2:30] [no YouTube]

LP Le Nord du Nord (1968), texte intégral, quelques photos personnelles.

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Málamas Pringipesa

Sokrátes Málamas/Σωκράτης Μάλαμας: ‘Πριγκηπέσα’ (2006) [4:52] (2014-01-21) [also on YouTube]

Live performance (Likávittos, Athens, Sept. 2006) of this hugely popular Greek hit (Πριγκηπέσα/Prigkipessa =Princess, 1st issued on CD in 2000). This video shows the melody and all lute (λαουτο) fills in notation, basic chords symbols, and the Greek lyrics with a simple English translation. If you think slow tunes in minor modes (here the phrygian/δρομος Ουσακ) are intrinsically morose, watch/hear this and think again! If you want to know how to make a good droney-open-fifths sound, watch/hear this. If you think most really popular songs ‘these days’ are junk, watch/hear this. If you’re anglophone and don’t know much really popular stuff from any other musical culture, watch/hear this. And if you want to get a personal idea of the sort of thing young Greeks were feeling not long before their national economy collapsed, watch/hear this. This video exemplifies the sort of truly popular music that rarely gets attention in ‘popular music studies’: a short coda lists 40 artists who covered the song. That’s pretty popular music!


Go to top of file Jeffrey Cain: Whispering Thunder (1972) [4:06] (v2. 2015-10-17) [also on YouTube]
This simple but effective three-chord political song, honouring Jonathan P. Jackson’s attempt to free his brother George, recounts the tragic Marin County Courthouse events of August 1970, in which Jonathan Jackson and several prisoners he had freed, as well as the County Court judge, were all killed. The last two lines of the last verse run "This is the story of one young brother with the blood boiling in his veins. This is the story of the whispering thunder that comes before the rain." I've posted this musical wake-up call, complete with fateful æolian shuttle (bVI<->i), because I can't find it on iTunes, and because I think it should be known.

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Play the Dixie Chicks video

Dixie Chicks - Not Ready To Make Nice - contextual analysis footage [10:39] (2014-01-05)
One of the clearest and most popular examples of music's relation to politics. The courage, integrity and musicality of the Dixie Chicks is also evident in songs like Not Ready To Make Nice, recorded ‘post-Shepherd's-Bush’. The video is in three parts: [1] before ‘the Sheperd's Bush incident’ (2003); [2] post-Shepherd's Bush, hounded by C&W rednecks but determined to ‘do the right thing’; [3] their song Not Ready To Make Nice (2006) —the right thing!— with scrolling lyrics, tune and chords and images both from Australian TV and from the excellent film Shut Up and Sing! (dir. Barbara Kopple). This song and its context provide a potent and uplifting example of music semiotics at work in an inescapably political context. In the video I omit discussion of the ‘fateful’ æolian shuttle, the ‘protest’ acoustic guitar, the positive anger and its vocal celebration and many other musical details about the song. The video’s aim is to explain the context in which the Dixie Chicks produced those sounds. N.B. This material is not available on YouTube due to copyright restrictions.

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Play Göteborgs Brechtensemble's version of Weill's Alabama song

Göteborgs Brechtensemble: Alabama Song (Brecht/Weill) [4:43] (2014-01-02) [also YouTube]
This is my favourite version of Kurt Weill's famous tune from Aufstieg und Fall der Stadt Mahagonny (1930). The rock arrangement in the verse parts —Bengt Blomgren on guitar, Bernt Andersson, the arranger, on keyboards, and Liliane Håkansson (lead vocals)— give this 1979 recording plenty of whoomph, while the soupy sax, blasé vocals and cheap-bar electronic piano of the refrains make for a disturbing contrast to the balls of the verses. No wonder capitalism is failing. It's sick and will fail. I'm sure that'll give me as much joy as this recording! Source: LP Låt er inte förföras (= Don't be seduced!), Avanti AVLP 06 (1979).



Go to top of file 2012-2013 [go to 2015 | 2014| 2013 | 2012 | 2011| 2010 | 2009| before 2009]
Net On-Off Switch

Simple Internet ON-OFF Switch [3:35] (2013-10-03) [also on YouTube]

Minimise online danger to your computer by using an instantaneous single-keystroke or single-mouse-click toggle between internet connection and disconnection. Why isn't something that does this standard issue on all operating systems? With this switch I become available when I think fit, not when corporations, governments, the secret police and hackers want me to be at their mercy! More info here...

Video - Victor Jara El derecho de vivir en paz (1973)

Víctor Jara: El derecho de vivir en paz [4:36] (2013-09-09) [also on YouTube]

Original videotape footage from August 1973, shortly before he was tortured and killed by the Pinochet régime’s murderers, of Víctor Jara performing El derecho de vivir en pazThe Right To Live In Peace— an excellent song with lyrics of great hope. [It was later covered with great aplomb by Congreso]. I've added subtitles in Spanish for the lyrics and in English as translation of Víctor’s preamble and of the Spanish lyrics. I've also supplied the video with lead sheet chord shorthand (it IS a good song!) and with references to other recordings of this and other Jara songs.

Form and the Night Doctors [8:41] (2013-06-30) [also on YouTube]

Using Vladimir Cosma's title theme for "Médecins de Nuit", this video demonstrates the importance of considering syncrisis ("now sound", groove, intensional dynamics, etc.) as form. "States of musical being" (shuttles, loops, syncrisis) are as important as "places to go" (harmonic processes, etc.) and conventional notions of musical form. This video was produced for a conference on popular music analysis (Liverpool, 2-4 July, 2013).

Cwm Rhondda Cymraeg 78 rpm

Cwm Rhondda Cymraeg/Cwm Rhondda in Welsh [2:42] (2012-07-05)[also on YouTube]

Re-edit of existing YouTube post, this one without voice-over or stills of 78 rpm record player. Instead: Welsh text and sheet music of this well-known hymn (SATB in A flat) sung in Welsh by the Boro Choir.


Go to top of file 2010-2011 [go to 2015 | 2014| 2013 | 2012 | 2011| 2010 | 2009| before 2009]
Bulgarian Harvest Song

Harvest Song from Bulgaria [3:37] (2011-12-22) (webm) [also on YouTube]

You may think simultaneously sounded semitones are discordant. Perhaps you argue that fourths, fifths and octaves are natural consonances because they correspond to simple pitch ratios but omit to mention the acoustic complexity of thirds and sixths in the 'common triads' of our equal-tone temperament, not to mention the tritone inside virtually every single standard jazz chord. Perhaps you even cite the common use of semitones in horror scenes as 'proof' that semitones are 'naturally' discordant. This clip demonstrates that such assumptions are as false as they are ethnocentric because the seven women heard here are definitely having fun singing semitone dyads and clusters for half of this harvest song. Comments in this video are by Prof Claire Levy (Sofia) and myself.

m7b5 montage

The Minor Seven Flat Five Montage [8:10; 2011-10-30] [also on YouTube]

Whether you think of it as ii7, iv6, the 'Tristan chord', or "half diminished", m7-5/m6 has a recognisable aural identity. This montage demonstrates the connotative coherence of the chord, as documented on pp.180-204, 566-573 in Ten Little Title Tunes.

Kojak Commutations   Kojak Theme Commutations [7:57; 2011-10-29] [also on YouTube]

Original version plus five radical rearrangements of Goldenberg's 50-second TV theme from 1972: classical, Renaissance, spy rock, pastoral idyll and bossa nova cocktail lounge. Shows importance of accompanimental parameters of expression (chiefly harmony and groove but also some instrumentation and aural staging). Relates to my PhD thesis Kojak - 50 Seconds of Television Music, also to videos Kojak: 50 Seconds of TV Music to analyse and The Kojak Theme: Score and Museme 2. All materials useful in semiotic music analysis.

Scotch Snaps

Go to top of file Scotch Snaps - The Big Picture [1:14:54] (2011-05-11) [also on YouTube]
Contents with timings
Source listingDiscussionVoiceover text ● (all html).

A huge social and cultural history lies in the microcosm of this two-note rhythm. Questions dealt with are things like: [1] What is a "Scotch snap"? [2] How does it relate to language, class and ethnicity? [3] Is it just Scottish, or is it also Irish, Welsh, English, West African, Hungarian, "Celtic", "black", "white" or what? [4] It's used by Henry Purcell, Béla Bartók, Mahalia Jackson, Woody Guthrie, Stevie Wonder, Ry Cooder, James Brown and Buck Owens; and you'll also find it in Strathspeys, traditional English ballads, Appalachian fiddling, string band music, spirituals, white gospel, black gospel, even in West African time lines, but you won't hear it in mariachi, mbaqanga or MPB, nor in music of South or Central Europe: why and why not? [4] It has to do with English language rhythm but then why did the snap disappear from English music during the 18th century to re-emerge globally in popular musics of the late 20th century? [5] Why did Dvorák think that "Negro" and "Scottish" musics were similar? [6] How come some music of English origin is labelled "Celtic" when England is seen by fans of "Celticity" as the devil incarnate? This instructive but entertaining video offers an alternative to ethnic fixations in popular music history and genre labelling.

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Dominants and Dominance/Dominantes y dominación [21:35] (v2, 2011-03-20) [also on YouTube]

English con subtítulos en español. For Musicology & Colonialism conference, Montevideo, Oct. 2009. 'It's pointless trying to force the conceptual grid of conventional harmony lessons on to music that conventional harmony experts have spent countless lifetimes avoiding or trivialising.' 'Es inútil forzar la matríz de las lecciones de armonía convencionales para aplicarla a música que los expertos de armonía convencional se han dedicado a evitar y trivializar.' Incl. extracts by Tom Russell (Who's Gonna Build Your Wall?), Carlos Puebla (Che), Sabicas (Malagueña).

Go to top of fileCordoba presentation 2009

Epistemic Diffraction or Integration? / ¿Diffracción epistémica o integración?
[29:20] (v2, 2011-03-03) [also on YouTube]

In English, subtítulos en español. Video for Universidad de Villa Maria (Córdoba, Argentina, Oct. 2009). It sets out the basic epistemic problems of teaching and learning music in our tradition of knowledge, including a critique of "absolute music" and suggestions as to how we can make knowledge in and about music more democratic and more accessible to "non-musos". Includes footage from Dixie Chicks' Shut Up and Sing movie (2006).

Go to top of file Buzz, Roar, Click, Crash [32:40] (2011-03-03) [also on YouTube]
Men, shaving, power chords, guitar distortion and rock tropes sonically commodified in the 1986 TV ad for the Philishave Tracer. Analysis, exemplification and discussion. How and why the sonic anaphone guitar distortion = motorbike is central to the rock daredevil myth and to the sale of a 'rock lifestyle'. Keywords: rock music semiotics analysis guitar distortion motorbike sound biker aesthetics advertising Ducati Harley Davidson heavy metal power chord trope myth musicology history gender daredevil death danger thrills excitement drums timbre sonic kinetic tactile anaphone museme connotation buzz roar rumble grrrr.

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The Milksap Montage [12:39] (v2., 2010-10-31) [also on YouTube]

I vi ii/IV I: what does it mean? Extracts from 52 US pop records 1957-63 illustrated with chords, teen angels, angel babies, girl groups, devotion, heartache and "all those goddam Bobbies". “This is a truly virtuosic creation: 52 pop singles in the United States that used the progression, arranged by key... Album covers, animated charts of the chord changes, and visual snippets demonstrating lyrical content flash by while you listen.” (

Gabriel's Oboes clip

Go to top of file 42 Gabriel's Oboes (complete) [19:59] (also as abridged for YouTube, 2010-10-28]

Montage of online performances of 'Gabriel's Oboe', one of the main themes Morricone wrote for 'The Mission' (1986) and one of today's most widely performed pieces of music. Teaching material for film music analysis and popular music aesthetics.

Go to top of fileIntelInsideVid Intel Inside Analysis (full) [11:07] (2010-09-27, orig. 2005) [also on YouTube]
What does the famous 4-note jingle mean and how does it work? What does music communicate in this 1990s ad? What other music and moods does the jingle resemble? Are marimbas "corporate"? Why no guitar? Why no quality symphony orchestra? Video illustration used in teaching Music and the Moving Image and in the semiotic analysis of music.

Go to top of fileThe Banjo in Black and White
| Français

The Banjo in Black and White (English) [2:43] (2010-03-31] [also on YouTube]

A very brief illustration of problems involved in labelling musics (or musical instruments) according to skin colour. Should be viewed in conjunction with PowerPoint presentation British Bluenotes and Backbeats and the Open Letter about 'Black Music', 'Afro-American Music' and 'European Music'.

Le banjo en noir et blanc (en français) [2:44] [also on

Simple illustration du problème d'appeler une musique « noire » ou « blanche ». Le banjo, aujourd'hui associé à la musique populaire de certains états-uniens blancs, a évidemment des origines ouest-africaines. Ce vidéo ne raconte pas l'histoire au complet; il faut lire la « Lettre ouverte » afin de le contextualiser.

Emmerdale Go to top of file The Emmerdale Commutations (complete) version 6 [8:41] (2010-02-19) [also on YouTube]

Pastoral idyll or place of great evil? Will any music fit this footage? With notation and musical commentary. Musical meaning in a TV theme. Title sequences from Yorkshire TV, original theme tune by Tony Hatch. Commutations and transscansions. Teaching material for film music courses. For more, see the Ten Little Title Tunes pp. 503-519.


Go to top of file -2009 [go to 2015 | 2014| 2013 | 2012 | 2011| 2010 | 2009| before 2009]
Droned Fifths for The Tailor & The Mouse [8:41] (2009-07-08) [also on YouTube]

Pastoral idyll or place of great evil? Will any music fit this footage? With notation and musical commentary. Musical meaning in a TV theme. Title sequences from Yorkshire TV, original theme tune by Tony Hatch. Commutations and transscansions. Teaching material for film music courses. For more, see the Ten Little Title Tunes pp. 503-519.

YouTube Takedown Rant (provisional) [3:32] (2009-01-01) [only on YouTube]

Provisional rant about the inequitable absurdities whereby I'm barred from doing my educational duty to spread knowledge and understanding about music in the modern media. YouTube lets big corporations block the information it's my job to disseminate.

Whaaa! Bodyform!

Go to top of file What A Scream! The insanity of a sanitary towel ad [10:00] (2008-12-31) [also on YouTube]

"Waaah! Bodyformed for you". This music-semiotic analysis suggests that panty liners are even less likely to trigger orgasms than to be soaked in bluey-green liquid. And yet that is all quite normal in consumerist propaganda: 'advertisers' can tell whatever connotative lies they like. This analysis material also starts to ask questions about links between the me-me-me subjectivity of the 1980s and musical phenomena like the "plastic glitter" keyboard sound or chord vamps ending vi-V. Those questions get no answer here! Teaching material for Music and Moving Image students.

Go to Fernando stuff

Mixolydian Montage

Go to top of file Mixolydian Mini-Montage [5:24] (2008-09-02) [censored version on YouTube]

Mixolydian chord loops from nine well-known rock recordings in different keys with clockwise circle-of-fifths movement and anacruses.

From Roaming Rip-offs to SIM Cards [4:51] (2008-01-19) [only on YouTube]

Tip for N. American residents going abroad: use an unlocked quad-band phone and SIM cards to avoid extortionate roaming rates. Brief explanation and instructions using a bog-standard Motorola V360.

Voice “Recognition” and Exasperation [5:52] (2008-01-18) [YouTube only]

Kafkaesque example of the thick brick wall of robotic customer ‘service’ provided by corporations.
More voice "recognition"

Vocal Persona

Go to top of file Vocal Persona Commutations [2:22] (2008-01-01) [YouTube only]

Examples of coherence and incoherence between vocal, gestural, social and emotional
aspects of personality (text)

Go to Kojak stuff

Party at the Palace

God, Queen, Jude & Nation [3:35] 2007-07-19 [YouTube only]

Extracts from Party at the Palace (Queen's Jubilee, 2002), with patent musicological and immanent social commentary. (Ten Little Title Tunes pp. 59-63).

Go to top of file Intel Inside (2005 version) —— please use Intel Inside Analysis: full version instead.
I Recall Baall

Go to top of file I Recall Bacall [1:30] (Tagg, 1990) [also on YouTube]

One of 21 exercises in writing typical detective themes, I Recall Bacall is set here to classic film noir footage. Silly credits are added. For info on detective music traits, check deckare in index to Ten Little Title Tunes.

Austria, Shampoo & Gestural Interconversion (3:22) [also on YouTube]

The Dream of Olwen. The Sound of Music and Timotei shampoo in one musicogenic semantic package. For further explanation check this text. See also Ten Little Title Tunes, pp. 155-27. Semiotic music analysis material.

Go to top of file Advertising IS  Propaganda [2:00] [also on YouTube]

Edited extract from The Century of the Self (Adam Curtis), episode 1. Includes Edward Bernays, father of PR/marketing/advertising (comsumerist propaganda), saying why he couldn't use the word propaganda to describe his activities. I've used this a lot in Popular Music History classes when dealing with the advent of “format radio”.

Product Is You

Adbusters: ‘The Product is You’ (English only) [0:18] (Adbusters, 1999) [also on YouTube]
Adbusters: ‘El producto eres tú’
(ingles, subtitulos en español) [

"Your living room is the factory. The product being manufactured is you”. I've used this a lot in Popular Music History classes when dealing with the advent of “format radio”.


Go to top of file  Kojak: 50 Seconds of Television Music
‘A film of the book of the music’
Kojak Parts 1-2

Parts 1 & 2 [19:38]

• Original sequences • Time code and sync • Visual analysis ● Score/transcription ● Original audio ● Synthesised rerecording ● Museme 2: offbeat filler, Moog ostinato, woodwind stab.
Book, pp. 245-286; 132-143, 150-184.

‘AWESOME !!! What a fantastic idea! Definitely one of the most useful postings ever on 'You Tube' !! (monsterjazzlicks )

not yet 3: Museme 1
• horn whoops and heroes • martial triplets • propulsive repetition
Book pp. 185-210.
not yet 3: Museme 1
• horn whoops and heroes • martial triplets • propulsive repetition
Book pp. 185-210.
not yet 4. Harmonic language
• harmonic idiom and historical location • quartal harmony as ‘modern’ • 5 commutations
, pp. 217-221
not yet 5. Telegraphic Urgency
Book, pp. 228-239
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Kojak theme score Transcription only (original audio with sync-ed 4-stave reduction of symphonic score)
Book, pp. 140-142 , also on line separately. [0:50]
Kojak commutations Kojak Theme Commutations [7:57; 2011-10-29] [also on YouTube].
Original version plus five radical rearrangements of Goldenberg's 50-second TV theme from 1972: classical, Renaissance, spy rock, pastoral idyll and bossa nova cocktail lounge. Shows importance of accompanimental parameters of expression (chiefly harmony and groove but also some instrumentation and aural staging). Relates to my PhD thesis Kojak - 50 Seconds of Television Music, esp. pp. 216-221.

Fernando, part 1

Fernando Book Cover

Chapters 1-2

Book chapters 1-2 (a) [1:08:45]   ● The actual book

0:00:00 Intro: Titles; Abba: Fernando in Melbourne, 1976; Milton Nascimento: No analices
0:02:19 — Breakfast at Ibotirama: Introduction, contextualisation of the song. Book pp. 9-14.
0:04:56 — Crejo en angelitos and Tretow's angel dust
0:06:49 — Tagg's discomfort, bus journey, the point of this video
0:08:41 — Recording, synchronised transcription and presentation of musemes. Book pp. 19-27
0:13:07 — Museme listing
0:17:12 Museme 1: open spaces (Beethoven, Handel, Borodin, Copland, Mahler, Schubert)
0:21:11 open spaces (Vaughn Williams, Grieg, Ives, Bruckner)
0:23:51 summary so far. Museme 1a: mañana turn and ethnic lute tremolando
0:31:01 Museme 2: sunrise, Zarathustra , Simpsons, Haydn, El condor pasa
0:37:01 Museme 3: explanations; Fauré, Brahms, Ave Maria,
0:39:54 Milksap intro, incl. Orbison, Darin, Tillotson, Twitty, Sedaka, Anka, Sam Cooke
0:43:07 Milksap montage (52 × [I vi ii/IV V] loops)
0:55:18 Milksap montage: discussion
0:58:23 afterthought about recitativo, Speedy Gonzales, Fernando and Latin America
0:59:29 Museme 4: hispano-military ‘boléro’ snares, Green Beret, It’s Over, Et maintenant
1:02:53 town crier; snare danger; Little Drummer; ‘closer’; The Mission, rat-a-ta-tat!
1:08:45 Temporary end

Chapter 2
musemes 7-11
not yet included

Individual video files included in ‘Fernando Part 1’ (see above)

Fernando Chapter 1 [8:41] (2007-07-25) [on YouTube]
Included in Fernando Part 1  video at 0:02:19

Introduction and personal contextualisation of the song.Book pp. 9-14.

Fernando score

Go to top of file Fernando Transcription & musemes [8:29] (2007-07-27) [on Vimeo or YouTube (except Germany)]
Included in
Fernando Part 1  video, 0:08:44-0:17:03

The tune with synchronised transcription + presentation of musemes. Book, pp. 19-27.

Fernando Museme 1, part 1 (2007-07-25) [on YouTube]
Included in Fernando Part 1  video at 0:17:12

Still, quiet, slow, open-landscape IOCM, with long held chords and simple melody (Borodin, Copland, Ives, Handel, &c). Book pp. 29-35.

Fernando Museme 1, part 2 [7:31] 2007-07-26 [on YouTube]
Included in Fernando Part 1 video at 0:21:11

‘Ethnic’ IOCM pinpointing the wide-open spaces to Hispanic, most likely Andean spaces — ‘mañana turns’, tremolando charango, quena, etc. Book, pp. 29-35.

Simpsons 2001 monkeyt

Go to top of file Fernando Museme 2 2007-07-26, blocked by YouTube.
Included in Fernando Part 1 video, 0:31:00- 0:37:00

Proclamatory entrance and ‘dawning’ with IOCM from El condor pasa, Also sprach Zarathustra (R Strauss),The Simpsons, Dutch fabric softener Silan, Haydn‘s Creation and others. Book pp. 36-38.

Fernando museme 3-1

Fernando Museme 3 part 1 [6:57] [only on YouTube]
Included at 0:37:01 in Fernando Part 1 video

Light, clean arpeggios I-vi, pizzicato effect, clink and glitter: angel harps, heaven and teenage devotion.
Book pp. 38-42

Fernando museme 3-3

Fernando Museme 3, part 3 [4:08] [only on YouTube]
Included at 0:55:18 in
Fernando Part 1 video

Summarises IOCM & PMFC from museme 3, part 1, and The Milksap Montage + an important afterthought!

Go to top of file Fernando Museme 4 [09:25] (2008-10-31) [only on YouTube]
Included at 0:59:32 in Fernando Part 1 video on this site.

The ‘Boleo snare drum sound’ — Spanish? Military? Fateful? Olde-Worlde? Storytelling? Proclamation?



Go to top of fileMorricone’s Music for The MISSION Go to top of file
(ongoing project)

Farne un tutt’uno: analysing music for The Mission (provisional start) [32:14]

Provisional first part in a film music analysis film project. Includes: [1] Morricone’s problema a farne un tutt’uno and basic questions about the role of music in the film; [2] how to do a cue list; [3] how to name musical ideafs —‘sick strings’ (m1A1: 07:35), ‘death drum’ (m2A1: 10:37), etc.; [3] systemising musemes, incl. taxonomy issues; [4] from 27:04, presentation of musemes m1A1a, m1A1b, m1A1c (sick string variants), m1A2 (string screech), m1A3 (visceral string disturbance, incl. ‘Jaws’ motif), and (from 31:27) m1B (tangled woodwind: ‘Penance’)... to be continued...

First 20 seconds of The Mission with thumbnail images and graphic score [0:20]
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Mission end

Farne un tutt’uno: analysing music for The Mission (provisional ending) [7:18]

A suggested conclusion to this film about Morricone’s music for the film, answering questions posed in Part 1 of this project. This video featurs: [1] conjunct descending bass IOCM for Gabriel’s Oboe, including Bach’s Air and A Whiter Shade Of Pale; [2] ‘A man of sorrows’ and ; [3] Vinceró; [4] ethical issues in Latin America; [4] music, human rights, the just, unjust and power abuse; [5] Ontivero Asunción; [6] contrition and sacrifice; [7] musical integration v. apartheid.

Gabriel's Oboes clip

42 Gabriel's Oboes (complete) [19:59] (also as abridged for YouTube, 2010-10-28]

Montage of online performances of 'Gabriel's Oboe', one of the main themes Morricone wrote for 'The Mission' (1986) and one of today's most widely performed pieces of music. Teaching material for film music analysis and popular music aesthetics.

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The Making of The Mission [58:02]

NB. This video file consists wholly of material on disc 2 in The Mission DVD box set (Warner Brothers SO 15031, 1996; DVD NTSC Warner 23497, 2003). If you are copyright holder and view this posting of educational material as an illegal act, please contact me and I will delete the file on line. I've posted it because it has considerable educational value and is difficult to come by through commercial channels.


Go to top of file Personal

Why I do what I do [3:12] (1994)

Feature from 1994 BBC broadcast Northwest Tonight (regional news) about teaching popular music
(incl. Kojak & Fernando). Dealing seriously with popular music In those days as a minor curiosity a whackademic.

I Recall Bacall

Go to top of file I Recall Bacall [1:30]

One of 21 exercises in writing typical detective themes, I Recall Bacall is set here to classic film noir footage. Silly credits are added. For info on detective music traits, check deckare in index to Ten Little Title Tunes.

Gaston Bière Cigarette

Gilles Vigneault, Gaston Rochon: Tout l’monde est malheureux [2:30]

Audio: original du 33 tours Le Nord du Nord (1968); vidéo: uniquement paroles avec quelques photos personnelles.

Go to top of file Philip Tagg receives Lifetime Recognition Award from the International Semiotics Institute [3:11, Vimeo] at the first conference of Numanities (ICoN2014) — ‘The Role of Humanities in Contemporary Society’, Kaunas University of Technology, 2014-06-02. From Day 1 of streamed version of conference proceedings (also viewable on YouTube — All awards at 1:58:51 in the the YouTube streaming (Tagg is at 2:05:15).

Go to top of file Other videos   

The Century of the Self
The Living Dead |

scary! The Koch Brothers: Godfathers of Greed

Graham Nash and James Raymond: Almost Gone — The Ballad of Bradley Manning  (2011) (lyrics added as subtitles 2013-04-07) [3:53]. Chords: A section shuttles Dm <-> G then Bb/d <-> Dm; B section runs ||: Dm | Bb A :|| × 2 then | Dm | Bb [Am] | Gm | break ||.

PopBitch (USA)

Oh Say Can You Sing (PopBitch).
Memorable pop diva versions of US national anthem at the Superbowl, incl. transcriptions

Jon Lajoie: Pop Song (a must-see pop parody)
Reggie Watts: F_ck Sh_t Stack (first-rate rap parody) | Reggie Watts: Big-Ass Purse


Go to top of file Railways, etc.   
Helmsdale North of Scotland line from Inverness to Thurso and Wick
(5:50; sped up, incl. stills)
Dingwall to Kyle of Lochalsh
(6:15; sped up; incl. stills)
Göteborg trams 2, 3, 7
(11:05; driver's view; sped up;
bara centrala Göteborg)
Tallinn - Tapa - Tartu - Valga in 21 minutes
(21:23; Estonian rail; cab ride; sped up; complete)

Lowgill-Tebay (2:15; carriage window; 2015-04-23)

Glasgow Queen Street to Crianlarich in 5 minutes





Go to top of file Audio

Other online recordings performed and/or arranged
by Philip Tagg

Music way out in the public domain and/or radically re-arranged.

Title themes, Sweden early 1980s

Samtal   • Jag vill leva jag vill dö i Norden (original)
Jag vill leva jag vill dö i Norden as broadcast
Packhus 18 (normal)  • Packhus 18 (rock)  
Studio G (as broadcast on TV)   • Studio G (end titles)

The tragedy of human machines and mechanical humans (private enterprise).
The glory of machines at the service of humans (public enterprise).
Go to top of file Audio produced by others

Göteborgs Brechtensemble: Alabama Song (Brecht/Weill, arr. Andersson, Avanti AVLP 06, 1979); lead vocals: Liliane Håkansson, guitar: Bengt Blomgren, keyboard: Bernt Andersson.

Also on YouTube,

Go to top of file PowerPoint

No media embedded in these presentations

Troubles with Tonal Terminology …on the de-ethnocentrification of structural terminology.
XII Congreso SIBE, Universidad de Extremadura, Cáceres, 8 November 2012

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Google have mechanised identification of recorded works used in videos posted by YouTube users. While this practice may serve a purpose in combatting the illegal duplication and redistribution of copyrighted work, it is irrelevant to the ‘edutainment’ clips I produce that relate to the topics I have taught and researched since 1971 — Popular Music Analysis, Popular Music History, Semiotics of Music in the Mass Media, etc. These subjects are of central importance in the understanding of meanings and ideologies circulating in today’s world. It is altogether impossible to disseminate information about these topics without citing extracts from copyrighted work that demonstrate or exemplify essential points of method and content.

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No clip listed on this page contains any infringement of the Digital Millennium Copyright Act. Every such clip citing the work of other authors conforms to all criteria determining the fair and/or scholarly use of citation according to U.S. Federal Law (Sections 107-118 of the Copyright Act; title 17, U.S. Code), as well as to the precedent concerning the transformative nature of work citing other works (Campbell v. Acuff-Rose Music Inc, 510 U.S. 569; 1994). If, as copyright holder, you wish to contest the posting of any material included in a recorded file on this website, please send me a short email message so that I can put you in contact with my media lawyer in New York.


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YouTube carpet bombing

YouTube mechanically scans all uploaded videos for potential breaches of copyright. Even if I’m 100% within the law, several of my videos on YouTube are either “blocked in some countries”, or flagged as containing “matched third-party content”, or have simply been taken down. I have repeatedly complained to YouTube that their mechanical policing of my edutainment videos contravenes the “Fair Use” provisions made in US law for the dissemination of scholarly, non-profit productions but I have been threatened with a ban from YouTube if I persist in vindicating this democratic right. (Fair use definitions in US Code ('Copyright Law of the United States', 2011), §107 (p. 19) and §118 (p. 74) [PDF, government document]; for info on the transformative factor in Fair Use, see here).

Most videos listed below can be either viewed on, or downloaded from, this site if you click on the relevant link. I will also gradually transfer all videos currently listed under <etymophony> on YouTube to this site and/or to Vimeo.



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> Intel notes no longer exist
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