Philip Tagg's Audiovisual Stuff
updated 2014-01-06                
Home page at this website (Philip Tagg, Liverpool)        Video
 
 

CURRENT PROBLEMS WITH VIDEOS IN MOZILLA FIREFOX UNDER XP

The videos linked to on this page do not currently seem to stream at all in Firefox on my PC.
I don't know why. If you have a similar problem you can either:
[1] Right-click the video link and select "Save link as...." (the video file will download); or
[2] Use another browser instead (e.g.
Google Chrome or Internet Explorer).
2014-01-21


©opyright

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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NOTICE TO COPYRIGHT HOLDERS

No clip listed on this page contains any infringement of the Digital Millennium Copyright Act. Every such clip citing the work of author 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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Problems with and browser plugins

YouTube automatically scans all uploaded videos uploaded for potential breaches of copyright. Even if I’m 100% within the law (see under ©opyright, and Notice to copyright holders, above), I sometimes receive an automatically generated notice telling me that my video contains illegally cited material and that I must remove the offending citation or the whole video. When I point out the legality of my video in a counter-claim, YouTube (Google) cite my contract with them and refuse to enter into any legal discussion. If I insist, I risk being entirely banned from YouTube. Theoretically they’re right because I did sign up to the umpteen pages of ‘terms and conditions’ I was supposed to find the time to read through carefully. Of course I think they’re morally wrong for reasons of educational democracy. That’s why I have to upload my edutainment videos, as well as some audio-only recordings, to this site.

Plugins etc.

Playing material housed on this site usually works fine. Still, depending on your operating system, your web browser and its plugins, some videos at tagg.org (not on YouTube) may not load or play immediately. If so (and if you’re using Windows), right-click the relevant link and select “Save link as...”. The file you want to hear/see will then be downloaded to your computer. You’ll have to wait while it downloads, of course, but you’ll definitely be able to hear/view it...

 

Go to top of file  Deutschland-spezifisch   Go to top of file

 

Go to top of file Longer Videos (> 10 mins)   
Go to videos <10 mins.
IntelInsideVid Intel Inside Analysis (full) [11:07]
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.
 
Gabriel's Oboes clip

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 today's most widely performed pieces of music. Teaching material for film music analysis and popular music aesthetics.

The Milksap Montage [12:39]

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.” (www.pmgentry.net/blog/).

Dominants and Dominance/Dominantes y dominación [21:35]

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).

Cordoba presentation 2009 Epistemic Diffraction or Integration? / ¿Diffracción epistémica o integración? [29:20]

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).

Buzz, Roar, Click, Crash [32:40]
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.


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

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.

  

Go to top of file Normal-length videos (<= 10 mins)

Emmerdale The Emmerdale Commutations [8:41]

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.
Olwen-Austria-Shampoo

Austria and Shampoo [3:32]

Austria = Shampoo? Musically, yes, if you mean The Sound of Music's Austria and the old Timotei shampoo ad. Music and words are thankfully not the same thing! This clip helps illustrate the concept of "gestural conversion" to my film music and music semiotics students (see Ten Little Title Tunes: 253-285 for details).

What A Scream! The insanity of a sanitary towel ad [10:00]

"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.

Tailor Mouse Drones

Droned Fifths for The Tailor And The Mouse [5:46]

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 droned keynote and the tune's tonal counterpoise. These quintal/quartal chords sound much better than 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. More in Everyday Tonality: 130-134.

Mixolydian Mini-Montage [5:34]

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 modal harmony (more details in Everyday Tonality: 51, 53, 124-125, 189-191, 221-226). This video was totally banned from YouTube even though its posting there was 100% legal!

Vocal Persona Commutations Vocal Persona Commutations [7:33]

"Are you talking to me?", asks De Niro, as Travis in Taxi Driver (1976). Dozens of voices expressing different moods and personalities say the same words but all mean something entirely different. Coherence and incoherence between vocal, gestural, social and emotional aspects of personality Teaching material, popular music analysis.
The Banjo in Black and White

The Banjo in Black and White (English) [2:43]

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 (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.

Kojak Commutations   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.
m7b5 montage

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.

Bulgarian Harvest Song

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.

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).

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.

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...

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

Göteborgs Brechtensemble: Alabama Song (Brecht/Weill) [4:43] (2014-01-02) Alabama Song on 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).

Jeffrey Cain: Whispering Thunder (1972) [3:20] (2014-01-18) Alabama Song 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 anywhere on line, not even on iTunes, and because I think it should be known.

Sokrátes Málamas/Σωκράτης Μάλαμας: ‘Πριγκηπέσα’ (2006) [4:52] (2014-01-21) Alabama Song 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) 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 artist who covered the song (popular!).

Guantanamera Endings [2:29] (2014-07-27) Guantanamera Endings on YouTue

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?

Go to top of file The film of the book of the music Fernando the Flute logo The film of the book of the music Go to top of file
Fernando Book Cover

Book chapters 1-2 (a) [1:08:45].

Timings for contents in videoThe book

● Breakfast at Ibotirama: Introduction and contextualisation of the song. Book pp. 9-14.

● Actual recording with synchronised transcription and presentation of musemes. Book pp. 19-27
● Museme 1 (1): still, quiet, slow, open-landscape IOCM with long held chords and simple melody.
● Museme 1 (2):
‘Ethnic’ IOCM , ‘mañana turns’, tremolando charango, quena, etc.
● Museme 2: Sunrise motif, proclamatory ‘dawning’, Also sprach Zarathustra, etc.
● Museme 3 (1): Light, clean arpeggios I-vi, pizz. effect, clink, glitter, teenage angel harps, etc.
● Museme 3 (2): The Milksap Montage
● Museme 3 (3): Summary of musematic meaning so far plus an important afterthought
● Museme 4: Boléro drum sound: Spanish? Military? Fateful? Olde-worlde? Storytelling?

Chapter 2
musemes 4-6

Museme 5 ...
Museme 6 ...

Chapter 2
musemes 7-8
 
Chapter 2
musemes 9-11
 
not yet  
not yet  
not yet  
 
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 4. Harmonic language
• harmonic idiom and historical location • quartal harmony as ‘modern’ • 5 commutations
Book
, pp. 217-221
not yet 5. Telegraphic Urgency
Book, pp. 228-239
not yet  
not yet  
not yet  
Kojak commutations 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.
Go to top of file Course-relevant video from other sources
Product Is You

Adbusters: The Product is You [0:15]

"Your living room is the factory. The product being manufactured is you.'

Advertising IS Propaganda [1:40]
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.
Party at the Palace

God, Queen, Jude & Nation [3:34]

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

Kevin McIntyre à CapAcadie, Studio 311, 2011-03-18 [27:14] (in Acadian/Québec French)
Auteur-compositeur-interprète acadien d'origine écossais; très intéressant et bi'n sympathique
(Singer-songwriter from Moncton, New Brunswick, in interview at Montréal: really interesting)
Les autres intervalles sont de la merde Kaamelott - The perfect fifth.mov. Perfect intervals only! / Juste les intervalles justes! Excellent pseudo-medieval muso nerd sketch, incl. the diabolus in musica..
Cwm Rhondda

Cwm Rhondda in Welsh [2:23]

Re-edit of existing YouTube post (3 verses), 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 by the Boro Choir.

   
Go to top of file Personal

Why I do what I do [3:12]

Feature from BBC Northwest Tonight (regional news, 1994) about teaching popular music
(incl. Kojak & Fernando).

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.

PROVISIONAL YouTube Take-down Rant [9:00]

Atomic Power Montage [0:45]

Early experiment in how to make propaganda by putting sequences of stills to existing music.

Voice ‘Recognition’ and Exasperation [5:50]
Kafkaesque example of the thick brick wall of robotic customer ‘service’ provided by corporations.

More voice "recognition" here (1'33) and more to come...

From ‘Roaming’ Rip-offs to SIM cards (4:50)
For technophobic N. American residents wianting to save money on mobile phone costs in 90% of the world.

Gaston Bière Cigarette

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

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

Philip Tagg receives Lifetime Recognition Award from the International Semiotics Institute [3:11] 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 by other people   
[go to course-relevant video by others]
   
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 ||.   Jon Lajoie: Pop Song (a must-see pop parody)
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.

Video version on YouTube,

 

 

 Go to top of file PowerPoint
PowerPoint Analyse smiotique
Analyse sémiotique simple de la musique


Which type of love?
Ideology and connotative
precision in TV music
A small methodological contribution
to developing a musicology
of the mass media.
Zipped PowerPoint presentation
(including ‘movie’),
revised for Semioticon,
August 2006 (6 mB)

       

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> Intel notes no longer exist
> Intel extra comments no longer exist