How to put notated music examples into text documents [6:49] [2017-01-28] How to export a music example from MuseScore as an image file, how to format that image file using Photoshop and to make it fit perfectly into the text file you’re writing.

Musematic edutainment videos 2016

[go to 2016+ | 2014 | 2013 | 2012 | 2011 | 2010 | 2009-]

Hoola Bandoola Band: Victor Jara [4:56] [2016-12-10]. Original recording [4:27] of Hoola Bandola's Victor Jara (1975), synchronised throughout with adequate transcription. For discussion of this tune and for more material about it, including English translation of Swedish lyrics, click here.

Love & Death pastiche of Alexander Nevsky battle scene [1:24] [2016-12-08] Battle scene from Woody Allen's Love and Death (1975: 0:21:00-0:22:11) in which Prokofiev's music for the ‘Battle on the Ice’ scene in Alexander Nevsky is performed at 186 bpm, not 122!

Alexander Nevsky (dir. Eisenstein, mus. Prokofiev) with embedded timecode and new English subtitles [1:48:31] [2016-12-03]. To avoid frustration with download times and endless buffering it may be worth downloading the whole film to your own hard drive. Restored version (1986) of complete Mosfilm original (1938). I've added over 500 legible English subtitles for the dialogue, titles and credits. Timecode has also been added throughout to facilitate exact and unequivocal referencing of sonic and visual events. For more info and for other materials relevant to studying this film, especially its music, click here. [HELP]

The Quick Quartal Repertoire Montage [7:27] [2016-11-01]; also radically abbreviated version on YouTube [3:03].Demonstrates the breadth of repertoire and the everyday ubiquity of quartal harmony. Contains extracts of music by Borodin, Debussy, Bartók, Stravinsky, Hindemith, Copland, Joni Mitchell, King Crimson, Manfred Mann, Clarence Ashley. Features also news jingles (ABC, CBS, BBC, ITN, Channel 9, Antenne 2, Canale Cinque), quartal signals on digital devices and power chords for Manga videos. It was originally used as illustration to the "Scotland" PowerPoints (Nov 2016).

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Tonality & Modality (1:09:12, HD, 2016-09-08)
Constructive critique of some of conventional music theory’s most embarrassing conceptual excesses. Live presentation at NIMiMS (Network for the Inclusion of Music in Music Studies), Symposium, 20 Nov, 2015. Helsinki University, Musicology, Topelia building. Video: Jouni Eerola / JAPA.

Backbeats, Bluenotes and Scotch Snaps (49:39, HD, 2016-06-17) Music analysis v. standard historical narrative. Live presentation at NIMiMS (Network for the Inclusion of Music in Music Studies), Symposium, 20 Nov, 2015. Helsinki University, Musicology, Topelia building. Video: Jouni Eerola / JAPA. Also on YouTube

         Thomas Weelkes (1575-1623): When David Heard  [3:34] [2016-07-22] No parent should have to experience the death of their child. Despite its modest resources, this SSAATB madrigal is about as passionately devastating as music can get. The grief is deceptively decent but very moving and raw: 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"-s in bars 28-29, 50-55; the sudden A minor chord (in C minor) at the end of bar 10 (ouch!); and the 19 outbursts 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).

Tagg's Paris Voice Montage [17:33] [2016-03-01] 79 numbered vocal extracts (± 13" per 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. [HELP]

Musematic edutainment videos 2015

[go to 2016+ | 2014 | 2012 | 2011 | 2010 | 2009-]

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 get-up-and-go, so I'm not ashamed to put it on line. If you enjoy it a quarter as much as I enjoyed playing it, you'll have made my day!

Elis Regina: Palavra de mulher (‘Vou voltar’) (with bilingual lyrics on screen) [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.

Legião Urbana: Faroeste Caboclo subtitled with bilingual lyrics) [9:20] [2015-08-21]. 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)).

[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.

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

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

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 aeolian shuttle (bVI<->i), because I can't find it on iTunes, and because I think it should be known.

and

Arnolfini Marriage Portrait (“dog” & 007 chord: poïetic/aesthesic) [from Epistemic Diffraction] [1:35]

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

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.

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.

Musematic Edutainment Videos 2014

[go to 2016+ | 2015 | 2013 | 2011 | 2010 | 2009-]

Timbre [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.

Guantanamera Endings [2:29] (2014-07-27) [also on YouTube] .. [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?

Gilles Vigneault, Gaston Rochon: Tout l'monde est malheureux [2:30]. LP Le Nord du Nord (1968), texte intégral, quelques photos personnelles.

Sokrátis Málamas/Σωκράτης Μάλαμας: Prigkipesa/Πριγκιπἐσα (=Princess) (2006) [4:52] (2014-01-21). Live performance —with Χάρις Αλεξίιου, Αλκίνοος Ιωαννίδης. Μπαμπης Τσερτος at Likávittos, Athens, Sept. 2006— of this hugely popular Greek hit first issued on CD in 2000. This video shows the melody and all lute (laouto) fills in notation, basic chords symbols, and the Greek lyrics with a simple English translation. If you think slow tunes in minor modes (here phrygian) 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 are junk, watch/hear this instead. 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 Anglocentric popular music circles. A short coda lists 40 artists who covered the song. That’s popular music way off the radar screen for many anglophone popular music scholars.

Dixie Chicks - Not Ready To Make Nice - contextual analysis footage [10:39] (2014-01-05). To prevent this 10-min. video from stopping and starting due to buffering during download/playback, try first downloading the whole video instead and then play it on your device [HELP].

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’ aeolian 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.

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 let yourself be seduced!), Avanti AVLP 06 (1979).

Musematic Edutainment 2013-2010

[go to 2016+ | 2014 | 2012 | 2011 | 2010 | 2009-]

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 paz ‘The Right To Live In Peace’ a song of hope and decency. [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 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. in the ‘extended present’) 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/Cwm Rhondda in Welsh [2:42] (2012-07-05). Re-edit of existing YouTube post, here without voice-over or stills of 78 rpm player. Instead: Welsh text and sheet music of the famous hymn (SATB in A flat) sung by the Boro Choir.

Harvest Song from Bulgaria [3:37] (2011-12-22). 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.

The Minor Seven Flat Five Montage [8:10; 2011-10-30] . 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 Theme Commutations  [7:57; 2011-10-29]. 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.

‘I just got home to Scotland from the Clifftop Appalachian String Band Music Festival in West Virginia. [T]his video came up in daily conversation and was recommended.' (Viewer comments, 2018-08-08)
This feature-length research study has been banned worldwide by Google’s legal team in the spirit of 'free enterprise' (fuck other freedoms).

— See Bruce Johnson’s review of this feature-length film in Equinox (2013: 86-87) —

A huge social and cultural history is embedded in the microcosm of this two-note rhythm. Issues addressed: [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 (música popular brasileira), nor in the music of South or Central Europe. [4] If it has to do with English language rhythm why did it disappear from English music during the 18th century to re-emerge globally in popular musics of the 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. See also Temperley, N., & Temperley, D. (2011): ‘Music-language correlations and the “Scotch Snap”’ in Music Perception  29 (1), 51-63. [HELP]

Supplementary materials relevant to this video:
Contents with timings | Source listing | Discussion | Voiceover text | (all html)

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). [HELP]

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). [HELP]

Buzz, Roar, Click, Crash [32:40] (2011-03-03)

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. [HELP]

Musematic Edutainment videos 2010

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

I vi ii/IV V : 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" (as Jerry-Lee Lewis put it). This video “is a truly virtuosic creation”, said www.pmgentry.net/blog/, “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”.

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

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

Intel Inside Analysis (full) [11:07] (2010-09-27, orig. 2005)

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.

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

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 '.

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

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.

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

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.

Musematic Edutainment videos 2009 & before

[go to vids from | 2016 and after | 2015 | 2014| 2013-2010]

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.

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.

Mixolydian Mini-Montage [5:24] (2008-09-02)

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 you can hear/see on .

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

Examples of coherence and incoherence between vocal, gestural, social and emotional aspects of personality. See also Music’s Meanings, Chapter 10.

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).

I Recall Bacall [1:30] (Tagg, 1990/2005)

One of 21 exercises in writing typical detective themes in C minor, I Recall Bacall is set here to classic film noir footage (2005). 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!

The Dream of Olwen. The Sound of Music and Timotei shampoo in one musicogenic semantic package (2005). For further explanation check this text. See also Ten Little Title Tunes, pp. 155-27. Semiotic music analysis material.

 KOJAK: 50 SECONDS OF TV MUSIC

Vids of the film of the book of the music 

Parts 1 & 2 [19:38] (2005)

| 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 YouTube!!” (monsterjazzlicksS) BLOCKED WORLDWIDE ON YOUTUBE!

↓ under planning ↓

3: Museme 1. Horn whoops and heroes, martial triplets, propulsive repetition. Book pp. 185-210.

4. Harmonic language. Harmonic idiom and historical location, quartal harmony as “modern”, 5 commutations. Book, pp. 217-221

5. Telegraphic Urgency. Book, pp. 228-239

TRANSCRIPTION and AUDIO only (audio with sync-ed 4-stave reduction of symphonic score) Book, pp. 140-142 , also on line separately. [0:50] BLOCKED WORLDWIDE ON YOUTUBE!

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 the Flute: film of the book of the music (ongoing)

DOWNLOAD FERNANDO THE FLUTE VIDEO PART 1
Book chapters 1-2 (a) [1:08:45] upd. Sep. 2018. [HELP] | The actual book

Video timings

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

Fernando the Flute - Episode 1: Score and Musemes [15:36] [2017-05-17]

Semiotic music analysis materials accompanying the book Fernando the Flute IV (2017). Includes: [1] synchronised score of the English version of "Fernando" (Abba, 1976) [01:02-05:23]; [2] Basic musematic method (IOCM & PMFCs) [05:23-11:38]; [3] Quick presentation of musemes [11:38-14:56]; [4] End credits [14:56-15:35].

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

The Mission 0:45-1:28 with graphic score and thumbnails [1:38]

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] Vincerò; [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.

Morricone: Gabriel’s Oboe from The Mission (1986): synchronised transcription [2:06] [2017-04-07]

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.

The Making of The Mission [58:02] [HELP]

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.

Personal videos

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, I was treated as a minor curiosity, as a “whackademic”.

Philip Tagg receives Lifetime Recognition Award from the International Semiotics Institute [3:11] (2014) 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 (I appear at 2:05:15).

  Collateral Murder (Baghdad 2007-07-12)

  Greta Thunberg: How Dare You? [1:09] (2019-09)

Edelstam, Palme and the Cuban Embassy in Santiago (1973) [90"]

  Adam Curtis’s The Century of the Self & The Living Dead 1 | 2 | 3 | 4 | 5 | 6 |

Adam Curtis’s The Power of Nightmares — Trailer | 1 | 2 | 3 |

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 (aeolian); B section runs ||: Dm | Bb A :|| ×2 then | Dm | Bb [Am] | Gm | break ||.

  Bill Hicks on advertising. [2:43] YouTube’s (Google’s) take-down of Bill’s priceless anti-capitalist rant was triggered by a copyright complaint from Warner Brothers, those famously suffering, little-guy freedom fighters in the war against kahm-you-nizz-em . Never forget how much capitalism sucks. And remember that It's impossible to understand popular music history without understanding the inherent evil of 'advertising' (consumerist propaganda: see here and here). For complete transcript of Bill’s 2½-minute rant, click here.

The Brexshit NHS Liars [1:48] (2017) “We’ll use the UK’s £350m/week membership of the EU to pay for the National Health Service.” Lies, lies, lies from Boris Johnson, Michael Gove, Nigel Farage and other contemptible clowns. Sue them!

 
Cambridge Analytica boasts of dirty tricks to swing elections (19:12, 2018-04-09; 360p; right click to download). In this Channel 4 production (UK), company bosses tell undercover reporters how honey traps, spies and fake news can be used to help clients (e.g. Trump & Brexit campaigns). I’ve uploaded this to my site just in case it’s taken down again from YouTube, etc. so that the truth may be known as widely as possible. This documentary footage shows how elections and referendums aren’t won on facts but through big data and psychographics (using social media, etc., see the 2018 Facebook scandal), i.e. by exploiting emotions and the subconscious (see 2-min video 'Advertising IS Propaganda’).

Advertising IS  Propaganda [2:00] Edited extract from The Century of the Self (Adam Curtis), episode 1 (0:08:12-0:09:01; 0:09:20-0:10:18). Includes Edward Bernays, father of PR/marketing/advertising (comsumerist propaganda), saying why he couldn't use the word propaganda to describe PR and advertising. Also advertising guru Pat Jackson on groups of people and their irrational emotions. I've used this clip in Popular Music History classes when dealing with the advent of “format radio”.

Adbusters: ‘The Product is You’ (English only) [0:18] ‘El producto eres tú’ (subtitulado en español) (1999) “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’.

TRAVEL
  

RAIL	TRAM	ROAD	other
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RAIL VIDEOS
featuring the Relentless Rail trips

Prefatory notes

If you want to decipher the coloured comments flashing by at an illegible speed in this video, please consult the original, full-length footage London Paddington to Hereford train Cab Ride from which it has been edited.

Wolvercote[s]

This Relentless Rail video (#43) gives a general idea of a train route (‘The Cotswolds Line’) associable with particular aspects of class in England. Wolvercote, just north of Oxford, has links to Tolkien, Inspector Morse and Brideshead Revisited (see here and here). It also gives its name to a hymn tune of a particular type (‘public’ school, etc., see here) and the name of a railway junction (map pic | actual pic) on the edge of a designated ‘Area of Outstanding Beauty’ (The Cotswolds), noted for its rolling green hills and villages built in the local stone. It’s often presented as a pastoral idyll from bygone days and has attracted a particular demographic. House prices in the area are among the highest in the UK (search "rightmove cotswolds", "zoopla cotswolds", etc. for info).

To know more about the musical underpinnings of this rich and bizarre semiotic web of ‘Englishness’, please consult Ten Little Title Tunes (Tagg & Clarida, 2003, pp. 209-225, especially ‘Stiff-upper-lip sighs’ (221-225)).

Video synopsis

Intro [00:00], Didcot, [00:10], Oxford [01:25] via Wolvercote Junction [02:10], Hanborough [02:43], Coombe [03:07], Finstock [03:30], Charlbury [03:40], Ascott-under-Wychwood [04:12], Shipton [04:22], Kingham [04:43], Moreton-in-the-Marsh [05:35], Honeybourne [07:18], Evesham [08:16], Pershore [09:11], Worcestershire Parkway [09:55], Worcester Shrub Hill [11:06], Worcester Foregate Street [11:50], Malvern Link [13:05], Great Malvern [13:30], Colwall [14:05], Ledbury [15:00], Hereford [17:16]. Credits etc. [17:57], end [19:09].