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Online
Audiovisuals
Updated 2009-10-22 |
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Produced
100%
by others |
Teaching material: my editing, titling and/or comments
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Teaching material: radically reworked, cut, commented and/or complemented
with original material |
In principle and in my opinion
largely original material |
 Atomic Power Montage (45") Example of how to make propaganda by putting sequences of stills to existing music sending a clear message. |
 Advetising IS Propaganda Extract from Century of the Self, episode 1. Bernays explains origin of term ‘public relations’. (1:40) |
 Emmerdale Commutations (short version; 5:10) Pastoral idyll or place of great evil? Will any music fit this footage? |
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 Emmerdale Commutations (unabridged version; 8:41) Pastoral idyll or place of great evil? Will any music fit this footage? With notation and musical commentary. (Ten Little Title Tunes pp. 503-519). |
 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. |
 Intel Inside: musical meanings in an ad and a jingle (5:22) >> Double-length improved full version in 2 parts << What does music communicate in this 1990s ad? What does the famous 4-note Intel Inside jingle mean and how does it work? Wow! This clip is top favourite for the folks at SemioticsInc! 12,200 views here, another 15,238 here (Nov. 2008, 5 star rating) |
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 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). |
Intel Inside Analysis (full) [Part 1 of 2] [3:35] Concentrates on the ad preceding the four notes and on the relation between the four notes and the Intel Inside animated logo. |
 Intel Inside Analysis (full) [Part 2 of 2] [8:47] Demonstrates what the famous 4-note jingle means and how it works. Intertextual connotations and musical commutations galore. |
 Vocal Persona Commutations (7:36) Examples of coherence and incoherence between vocal, gestural, social and emotional aspects of personality (text) |
 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... |
 Essentiel aux étudiants [1] [3:24] À quoi bon ce site et pourquoi faut-il remplir le formulaire d'inscription en ligne? = What good is www.tagg.org and why do my students have to fill in the online form? |
 Why I do what I do [3:12] Feature from BBC Northwest Tonight (regional news, 1994) about teaching popular music (incl. Kojak & Fernando). |
 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. |
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 What A Scream! The insanity of a sanitary towel ad [10:00] "Waaah! Bodyformed for you". The orgasmic scream is even sillier than the bluey-green fluids! |
YouTube
Take-down Rant |
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 Dominants & Dominance 2 Dominantes y Dominación 2 [9:46, subtítulos en español]. Necesitamos una nueva musicología |
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 -The Banjo in Black and White [2:43]. A very brief illustration of problems involved in labelling musics according to skin colour. Should be viewed in conjunction with my Open Letter from 1987. |
| - Le banjo en noir et blanc [2:44]. Le banjo, aujourd'hui associé à la musique de certains blancs aux É-U, est d'origine ouest-africaines. Il faut lire la « Lettre ouverte » (1987) afin de contextualiser ce vidéo. | |||
Videos by P Tagg downloadable from this site
(mostly ZIP files containing MPG video file[s])
 Musical Learning: Epistemic Diffraction or Integration? [29:20, downloadable ZIP, 400 meg., not YouTube]. In English, subtítulos en español. Video for Universidad de Villa Maria (Córdoba, Argentina) |
 Ackworth 2010-02-10: celebrating one month back in the UK [2:34, 11 meg MP4]. Wordless personal statement. No musicological or other academic value at all. |
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Fernando
the Flute
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Other
Fernando clips of interest
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1. Abba
video (English, playback)
2. Abba video (Swedish, playback) 3. Abba on Japanese TV (English, playback) 4. Abba on Polish TV (English, playback) 5. Abba on La Noche De Lina Morgan TV show (English, live) 6. Abba on the Midnight Special show (English, live) 7. Abba on French TV (English, playback) 8. Abba doing Fernando as National (electronics) ad (playback) • all 5 National ads • Australian TV ad (‘Abba are right’) 9. 10. 11. Bizzare, over-quantised minimalist ‘videoke’ version (English) 12. Too fast but tolerable Brazilian karaoke version (English) 13. Live karaoke recording from Lincoln (California/English) 14. Webcam karaoke: ‘florecilla1965’ (Spanish, one 8ve down!) 14. Emancipated Mimi: ‘Talk About Killing A Song’ Ethnographically stunning mobile phone recording in karaoke bar 15. Military band in front of Swedish parliament (instr.) 16. Guy Sebastian, live on Australian TV’s Abbamania. Same pitch as Frida, with pseudo-gospel melismas. 17. Franando (= crumbling): sharp political pastiche in Italian (with English accent): Irene Grandi on Crozza Italia (TV) 18. My Banda: Russian pastiche; critical Abba nostalgia 19. Abba-Review, German tribute band, Dortmund 2006 20. |
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 Chapter 1: Breakfast at Ibotirama [8:41] Introduction and personal contextualisation of the song. Book pp. 9-14. |
 Between Chapters 1 and 2. [8:29] The tune with synchronised transcription + presentation of musemes. Book, pp. 19-27. |
 Museme 1 (part 1) [6:38] Still, quiet, slow, open-landscape IOCM, with long held chords and simple melody. Book pp. 29-35. |
 Museme 1 (part 2) [7:31] ‘Ethnic’ IOCM pinpointing the wide-open spaces: ‘mañana turns’, tremolando charango, quena, etc. Book, pp. 29-35. |
 Museme 3 (part 1) [6:57] Light, clean arpeggios I-vi, pizzicato effect, clink and glitter: angel harps, heaven and teenage devotion. Book pp. 38-42 |
 Milksap Montage (1) [9:11] 21 of 52 US pop recordings based on I-vi-ii/IV-V and illustrated with chords, teen angels, heartbreaks, girl groups, doowopers and "all those goddam Bobbies". |
 Milksap Montage (2) [7:36] 31 of 52 US pop recordings based on I-vi-ii/IV-V and illustrated with chords, teen angels, heartbreaks, girl groups, doowopers and "all those goddam Bobbies". |
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 Museme3 (part 4) [4:08] Summarises IOCM & PMFC from Museme 3 Part 1 and The Milksap Montage (1 & 2) + an important afterthought! |
 Museme 4 [9:25] The ‘Boleo snare drum sound’ — Spanish? Military? Fateful? Olde-Worlde? Storytelling? |
 Museme 5 |
Museme 6 |
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Museme 7 |
Museme 8 |
Museme 9 |
Museme 10 |
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Kojak:
50 Seconds of Television Music
‘A film of the book of the music’ |
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 2. Score + Museme 2 [9:48] • transcription • sync • offbeat filler • Moog ostinto • woodwind stab Book, pp. 132-143, 150-184. ‘AWESOME !!! What a fantastic idea! Definitely one of the most useful postings ever on 'You Tube' !! (monsterjazzlicks ) |
4. Harmonic language • harmonic idiom and historical location • quartal harmony as ‘modern’ • 5 commutations Book, pp. 217-221 |
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Other
online video: full-length and ESSENTIAL viewing! |
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•
Fabbri
& Tagg at Torino
sound not always present! |
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If you don’t know |
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Other
online audio-video
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Resistance to hold music (0:38) The best strategy I have seen and heard to overcome the exasperating ‘normality’ of hold music. |
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Currently downloadable PowerPoint
Presentations
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Audio
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HEARING
THE |
Other
online recordings by Philip Tagg |
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| The tragedy of human machines and mechanical humans (private enterprise). | ||
| The glory of machines at the service of humans (public enterprise). | ||
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Notes
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Intel Inside: 4 syllables = 4 notes |
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One guy keeps objecting that there are five, not four notes in the jingle. Here’s why I think it’s just four! Of course there's a “blang” before the four notes I discuss. I'm not dealing with that “blang” because (a) as Peter D Kaye says, it's more of an episodic marker to break from the preceding ad; and (b) anyhow it's a complex of timbres and of several more notes, not just one more. It's polyphonic and the four notes aren’t, unless you count what can be heard in the reverb. I decided to deal with the four notes of the actual jingle/transscansion itself, not with the three or four notes involved in the episodic marker. There's enough in the four notes of the transcanssion on its own for a 15-minute edutainment clip (more IOCM, more commutations, etc.). There’s a little more on the web about the episodic marker here and here... Besides, as Walter Werzowa, the jingle’s composer, put it: “‘'Intel Inside’, that’s four syllables, so four notes”. More about the jingle (for the time being in Spanish only) in this article. |
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