Philip Tagg's Audiovisual Stuff
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Updated 2016-08-09 

Music’s Meanings

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Go to top of file Edutainment videos in reverse chronological order

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

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When David Heard

When David HeardThomas Weelkes (1575-1623): When David Heard [3:34] [2016-07-22]

No parent should have to experience the death of a much loved child. Despite its modest resources, this SSAATB madrigal is about as passionately devastating as music can get. The grief is deceptively simple and very moving —Hollywood and Grand Opera, go home! Check out the ‘false relations’ in bars 7 and 48 (twice); the woeful Neapolitan sixths in bars 22-24, 33, 36; the exposed ’O’ in bars 28-29, 50-55; the sudden A minor chord (in C minor) at the end of bar 10; and the 19 entries of ‘Would God I had died for thee!’ in bars 39-49. Score synchronised with recording by The Consort of Musicke (clear, unaccompanied single voices) under Anthony Rooley (1999).

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Tagg’s Paris Voice Montage [17:33] [2016-03-01] Tagg on Vimeo 

79 numbered vocal extracts (≈ 13" extract) from dozens of different styles/cultures and including scores of different vocal personas. Used at conference La voix dans les chansons : approches musicologiques, Paris 2016-03-04, to highlight central issues about the perception and description of voice in music. Best if seen/heard in conjunction with the following: [1] Chapter 10 in Music’s Meanings; [2] PowerPoint presentation Dénoter la voix (in French & English); [3] Excel file of source information and comments relevant to the montage.

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

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!
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  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] Tagg on Vimeo

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 strophic 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 range of vocal personae. All these variations underline the dramatic (comic and highly tragic) narrative of the lyrics. I'd like some time to write an analysis of this piece. If and 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] [2015-05-14

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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Vänner och fränder

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

Basic notation and lyrics in Swedish and English added to studio recording from album ‘Rackarspel‘ (Folk och Rackare, 1978) [4'51"]. Documentary value as: [1] a Scandinavian double-hemitonic pentatonic/hexatonic melody —1 #3 4 5 b6 (b7); [2] the recording on which popular latter-day versions of the the tune were based. Aesthetic and socio-historical value also considerable!...

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

Basic notation and lyrics in Swedish and English added to studio recording from album ‘Rackarspel‘ (Folk och Rackare, 1978)

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Arnolfini Marriage Portrait (‘dog’) & 007 chord: poïetic/aesthesic [from Epistemic Diffraction] [1:35] THIS VIDEO IS NOT AVAILABLE ELSEWHERE ON LINE.
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Unequivocal Time Code Designation

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

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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.

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Troubles with Tonal Terminology -1: What [the hell] is 'Tonality'?
[19:57] (2015-01-09)

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.

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Timbre: envelope ADSR, 4 examples [1:09] (2014-10-08)
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).

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Guantanamera endings

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]

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

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Málamas Pringipesa

Sokrátis Málamas/Σωκράτης Μάλαμας: ‘Πριγκηπέσα’ (2006) [4:52] (2014-01-21)

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!

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Jeffrey Cain: Whispering Thunder (1972) [4:06] (v2. 2015-10-17)
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) THIS VIDEO IS NOT AVAILABLE ELSEWHERE ON LINE

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 elsewhere on the web 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)

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 2016 | 2014| 2013 | 2012 | 2011| 2010 | 2009| before 2009]
Net On-Off Switch

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

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)

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)

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)

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) Tagg on Vimeo

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] Tagg on Vimeo BLOCKED 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] BLOCKED WORLDWIDE 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.

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Scotch Snaps

    Scotch Snaps - The Big Picture [1:14:54] (2011-05-11)

● See 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 Dvořák 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)

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

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).

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Buzz Road Click Crash

Buzz, Roar, Click, Crash [32:40] (2011-03-03) Tagg on Vimeo BLOCKED 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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Milksap Montage

The Milksap Montage [12:39] (v2., 2010-10-31) Tagg on Vimeo BLOCKED 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.” (

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Gabriel's Oboes clip

42 Gabriel's Oboes (complete) [19:59] Tagg on Vimeo

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) Tagg on Vimeo BLOCKED 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] Tagg on Vimeo BLOCKED 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] Tagg on Vimeo

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.

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The Emmerdale Commutations (complete) version 6 [8:41] (2010-02-19) Tagg on Vimeo

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]

Step by step demo of how to use drones and parallel fifths to create convincing pseudo-medieval harmony for modal tunes. There are no dominants or subdominants: just a the droned keynote and the tune's tonal pole (the other tonal constellation it goes to). These quintal/quartal chords sound much better than the those tired old tertial triads!. "The Tailor and the Mouse" (hexatonic minor) is used as an example. On-screen illustration, notation and animation. Teaching material for classes in Popular Music Analysis.


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.

Go to top of file Whaaa! Bodyform!

What A Scream! The insanity of a sanitary towel ad [10:00] (2008-12-31)

"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

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Mixolydian Montage

Mixolydian Montage  Mixolydian Mini-Montage [5:24] (2008-09-02) Tagg on Vimeo BLOCKED ON YOUTUBE!

Mixolydian chord loops from nine well-known rock recordings in different keys with clockwise circle-of-fifths movement and anacruses. The most common mixolydian chord loop (I-bVII-IV or bVII-IV-I) animated, explained and illustrated using extracts from well-known rock recordings in different keys. Useful and amusing for anyone wanting to get to grips with realities of harmony in popular music. Practical demonstration of writings on one aspect of harmony (more details in Everyday Tonality). Before its take-down by YouTube, the original version of this edutainment clip from June 2009, now on Vimeo and downloadable from this site, had 2,292 views, 21 likes and 2 dislikes. It had been banned because it cited, 100% legally, ten seconds from The Kinks’ Twentieth Century Man (1971). Since US federal copyright law about fair use (Title 17, sections 107-108 plus the Campbell v. Acuff-Rose precedent about transformative use) doesn't seem to include YouTube users, I've replaced those 10" (1.7% of the clip!) in a YouTube censored version with a rudimentary MIDI passage illustrating the same basic chord sequence. The remaining 5'14" (614 seconds) in this censored version are the same as in the original uncensored version.

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

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) only

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

Go to top of fileVocal Persona Commutations

Vocal Persona Commutations Vocal Persona Commutations [2:22] (2008-01-01)

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

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 (2008).
I Recall Baall

I Recall Bacall [1:30] (Tagg, 1990) Tagg on Vimeo

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) BLOCKED ON YOUTUBE! Tagg on Vimeo

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]

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)
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


• 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] BLOCKED WORLDWIDE 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)
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 Tagg on Vimeo Fernando Transcription & musemes [8:29] (2007-07-27)
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)
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
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 WORLDWIDE ON 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]
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] BLOCKED 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) BLOCKED WORLDWIDE ON YOUTUBE!
Included at 0:59:32 in Fernando Part 1 video on this site.

The ‘Boléro 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) Tagg on Vimeo

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

I Recall Bacall [1:30] Tagg on Vimeo

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.

Philip Tagg receives Lifetime Recognition Award from the International Semiotics Institute [3:11] KaunasAwardVimeo 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
  Edelstam, Palme and the Cuban Embassy in Santiago (1973) [90"]



Go to top of file Railways     | Go to TramsDrivingOther travel |   

Most videos should start playing when you click the thumbnails in the left column or the text links in the right column, or the relevant icon, but larger files may take some time before they get going. Even then the display can sometimes hang (‘stutter’, ‘freeze’). If a video exhibits such symptoms, try one (or more) of the following tricks:

  • Download the whole video file from this site (right click and ‘Save Link As’);
    then play it on your device rather than in cyberspace. This is the most reliable workaround.
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  • Use another internet browser
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DomodossolaLocarno Domodossola to Locarno (Trenino Time-Lapse Ferrovia Vigezzina/Centovallina)
[16:43] super-turbo time-lapse cab ride [14:45] preceded by maps and info [1:58]; annotated with locations, populations, elevations, direction of travel, etc. Via Masera, Trontano, Druogno, Santa Maria Maggiore, Malesco, Re, Camedo, Intragna. Other excellent videos of this scenic line exist, including Centovalli railway drivers view Locarno-Domodossola (clips 1, 2 and 3 by Gartenzug Train garden 庭園鉄道) and Laurent Fasnacht’s 2-hour real time original, used to produce this turbo time-lapse version. More info about this scenic railway in Domodossola-Locarno Railway (Wikipedia).


North of Scotland: Inverness to Thurso & Wick
[5:50] cab ride, outside shots, abbr., incl stills, time-lapse sequences, no audio


Dingwall to Kyle of Lochalsh
[6:15] cab ride, outside shots, abbr., time-lapse sequences, a few stills, no audio

Tallinn-Valga icon Tallinn to Tapa, Tartu and Valga
[21:23] (2013) Estonian rail cab ride, rapid time lapse, complete, annotated, bkgrd mus instr. rock

Wien Südbahnhof to Venezia Santa Lucia
[42:58] (2010) complete, annotated, ‘ludicrous speed’ —super-rapid time lapse—, backwards, no audio;
via Wiener Neustadt, Gloggnitz, Semmering, Mürzzuschlag, Bruck-an-der-Mur, Klagenfurt, Villach, Udine, Treviso, Pordenone, Mestre

YRK2MAN icon York to Manchester Piccadilly
[15:04] (2011) complete rapid time-lapse cab ride, annotated, no audio
via Church Fenton, Leeds, Dewsbury, Huddersfield, Stalybridge, Guide Bridge

Low Gill to Tebay
[2:16] (2015-04-23) smartphone (3 takes), passenger view S & E, real time, live audio (v. quiet)

Glasgow Queen Street to Crianlarich
[4:58] (1980s) cabride complete, super-rapid time lapse (‘ludicrous speed’). Music Coronation Scot (Vivian Ellis) and The Bonny Banks Of Loch Lomond/Scotland The Brave (Duane Eddy); from Queen St (upper) via Maryhill, Dumbarton, Helensburgh Upper, Arochar & Tarbet, Ardlui

ShrewsburyMachynlleth Shrewsbury to Machynlleth
[11:31] (1988-05-11) cab ride complete, rapid time lapse, no audio, via Welshpool, Newtown, Caersws.

 Machynlleth-Pwllheli icon  Machynlleth to Pwllheli
[14:49] (1988-05-11) cab ride complete, rapid time lapse, no audio; via Cyffordd Dyfi/Dovey Junction, Aberdyfi, Tywyn, Barmouth, Harlech, Penrhyndeudraeth, Porthmadog, Criccieth.
Borth etc.    DyfiAberystwyth Cyffordd Dyfi/Dovey Junction - Aberystwyth
[03:05] (1988-05-11) complete sunny cab ride, rapid time lapse, no audio; via Borth
Go to top of file Trams (Go to RailwaysDriving Other travel)
Gbg Trams

Göteborg trams 2, 3 and 7 in and around city centre
[11:05] driver’s view, turbo, no audio


Istanbul Tram #1, Karaköy/Tophane to Kabataş
[4:20] (2015-12-08, c 13:30) smartphone passenger view from Istanbul tram #1 going NE along European shore of Bosphorous, real time, live audio.

Go to top of file Driving    | Go to RailwaysTramsOther |
Burbank Tourism

Burbank Tourist Drive [also on YouTube]
(2009-11-14) Nokia phone footage (passenger view through windscreen) of a drive along route 405, along Ventura Blvd, then past Burbank's studio domains (Universal, Warner, Disney), all late on a Sunday afternoon in November 2009. I’m the tourist with the phone camera and Peter D Kaye is my driver and guide. The TV music stereotype studies used in this clip are by Tagg and can be heard complete under Hearing the Detectives at Tracks used in this video are "Coke Squad", "Robocopter", "Throg's Neck Thugs", "Afroglass Club 33" and "Arizona Drains".

Californian Driving Day Trip
[15:38] (2009-11-15) Passenger’s windscreen view of places/things like Santa Monica, Pacific Highway, Malibu, Oxnard, Santa Barbara, Ventura Freeway, Topanga Canyon. To save space, the constant driving (great shots) is slightly sped up and there is no audio track. My host, driver and guide on this trip was Peter D Kaye (Santa Monica).


Milano Centrale to Via Guerrini
[04:11] (2012) Smartphone twilight footage, passenger’s windscreen view, of Milan traffic.
Driver: Franco Fabbri. Music: XTC - Scarecrow People.

Tunel lo Prado (Chile)
[1:46] (2013-08-24, 13:28) Smartphone, passenger windscreen view; route 68 (Santiago-Valparaíso);
Lo Prado tunnel (2,808 m). Chilean music on in-car stereo; driver: Rodrigo Torres

Pontllyfni to Caernarfon
[7:15] (2014-12-14) Passenger view; A499 Pontllyfni-Caernarfon; real time, real audio, abbreviated (Llanwnda & Bontnewydd skipped).

Finding Ffynnon Wen
[02:43] (2014-12-14) How to find Ffynnon Wen when approaching Pontllyfni (SW of Caernarfon), on the A499 (Llŷn Peninsula artery) towards Pwllheli; real time, real audio

Carretera A64 Vilaviciosa towards Oviedo (Asturias)
[04:03] (2015-09-09) Smartphone footage, passenger’s windscreen view, driving West on motorway running parallel to the Asturian coast, east of Oviedo/Gijón. Driver: Diego Garcia Peinazo.

Go to top of file Other travel   | Go to RailwaysDrivingTrams |

Hotel Lift in Granada
[01:03] (2012-05-10) Views of the Sierra Nevada and of the city recorded on smartphone while using the lift in Granada’s Abba Hotel (sic)


Plaza San Luis in Valparaíso
[00:31] (2013-08-11) Cartographical anomaly. 360° manual smartphone pan at the point in the Monte Alegre district of Valparaíso where seven streets converge (Plazuela San Luis).

Aberllyfni + Traeth Pontllyfni
[01:55] (2014-12-15) Where the Afon Llyfni flows fast into the Irish Sea. 360° manual pan on one of Wales’s most scenic (not warmest or sandiest) beaches. Good footage of December-grey sea and small breakers with good audio of water over pebbles on beach; real time; real audio.

Road to Spurn Head breached
[00:40] (2015-07-27, 19:09; breached December 2013) Cartographical anomaly. Manual 360° smartphone pan at narrowest point at Spurn. Holding the umbrellas: Kaire Maimets-Volt

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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

Stormy Six: ‘Panorama’ (Leddi) from Al Volo (1982); also viewable as notation.

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,

Rev. D.C. Rice: A Sure Foundation — “There Is Honey In The Rock” (c 1928)

Я_П.Е.В.С.-Я хуйло (band name Я_П.Е.В.С = I.D.S.T. = I was already drinking in Soviet times; title = I’m a nobhead)
Ba-Benzélé (Trad.) ‘Lullaby 1’ from Music of the Ba-Benzélé Pygmies (UNESCO, 1965) Aboriginal Trad. (North Arnhem Land): Djedbangari (‘Djapani’) from Australian Aboriginal Folk Songs (Columbia World Library of Folk and Primitive [sic!] Music).
Vietnam (Trad): ‘Do Doc Do Ngang’ (Boat Song) from Music from Vietnam & Cambodia (1999)   Tõnis Mägi: Koit

Go to top of file PowerPoint

No media embedded in presentations 1-3.

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

Dénoter la voix : une approche pragmatique et didactique (in French and English).
Keynote, colloque international La voix dans les chansons : approches musicologiques, Lyon & Paris 2016-03-03, 04.

The VVA Way to a Commonsense Conceptualisation of Music: Visual-Verbal Association and image as metonymic intermediary in the understanding of musical meaning.
Keynote presentation at conference Transpositions: Music/Image, XIII International Conference of the Department of Musicology, Faculty of Music, University of the Arts, Belgrade, 13 October 2016
Audiovisual and text hyperlinks.


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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
> Intel extra comments no longer exist