kwowLeoce: Disciplinarity and Beyond len MesierDevidow David R Shumsy Ded}. Syoen Keeping Score: Music, Disciplinarity, Culture oy PAnES ESE PE Robes Dalgaren, Special Aeiont (here and London aAdnosledgnenss Tnwoduction: Masi Discplinrin and Tatrdisplinaiy 1 | panty THE CONSTRUCTION OF MUSICAL DISCIPLINES Rethinking Contemporary Mae Theory 3 Pane uconter “Terminal Presi: “The se of Aran Garde Mure Comportion ss Som ig ‘We Won't Get Fooled Again: Rock Masi and Macal Anais 78 Jeb ed isespool and she Bere: Explving Blane besween Mosieand Plice, Text and Context, °0 ‘Thelaveccon of Amesiaa Musi Care: Mesning, Cetin, and Musical Acculuraon in Antebebum Ameice 107 i iPant 2: pise: i Cos LINED AND DISCIPLINING MUSIC *Outaf Noses” Sipicacn,Inerpestion andthe Problem of Mike Dis sar abet Baer ‘Weg Ghos Notes The Posie and Poof Transcription ‘Sisterhood: A Loring Laban Et Listes co Progessve Hiterorerul Womes' Rock Nia 204 ener ek ond ih yun fe Dome 220 [Avthe Telit’ Last Ssorng ase ‘Auld Reon Listening Subj: Semiotics, Prychosnalye andthe Music of foo Adams and Seve Rech 278 Dasa Consbtons 200 Index 01 Sm, Jb editors thank Dai Shure, ea Messer Davidow, end David yan fr their long term belp, suppor, and guidance fom the outset ofthis project, We thank, a wel ll of our conarbutos who put much hard ‘wodint the boole We thank Timothy Bul of the University of Calgary for ‘organising the Reenant Intervals conferences which the ids fr this oak fis came int being, We thank Mark T. Abbot ofthe School of Muse atthe alert ef Hines, Urbans, for expert and exrefl work preparing and dng musical eames using Fale 39.1. Duid Scbrarthasks David ‘Shruder, Dean of he Collegeof Mac atthe University of North Texas fr ‘peers insusonal suppor he thane, aswel, Lis A. Raskin, Des of the Facy at Amber College, a wel athe lacy ofthe Mase Depart ‘meat at Arbesst Callge for thelr generous soppor of his project. Special, thanks to Maes and Jakob. Anshid Kaseaian give spec thanks to 20 ‘and Maral for their pasence. Lawrence Sigel hanks his meats, guides, snd comrades in the explorsion of cule and socey: Richard Leppent, Janet Levy, Sas MoClry, Lenard Meyer andthe Univery Pres f Vi. ina for fs commiznen to his wrk360 kage oom 1989, wemendoescopon fas and quate, taboo set ae ee see wd is mags Bary Keil ssa Adie Cais ad Di arb Tai of Bet: Te Sco loi Cerne 278 er ey 8) were masclogal tos to proate So eee cfDaiht muse For Cates comments ee Hovard Mand, “Shs Miss: Debates 150: 16-20, Me phos Dens ere for Mes Dai, “Aue” (CBS, 29° 1984, PETER WINKLER Writing Ghost Notes: The Poetics and Politics of Transcription179 egisore aig Giauoes 474 -wotking ouvard to other adions—older popular song jar, cous gos | palma, Gradually was able to buildup a pierre ofthe sci ito, nd economic cone in ich this music exaed. But rly ithe ere tar address the msi ef This, la, sl larely rue todey, eventhough 9 the oscil rl ae as bac sadard poser inthe ld ‘fcteonuialn sine that ccipline began devdop tele eaty, ‘ed waoscpton i fequenty we a the such ofa, wan od sad ad pedagogy, For yeas re at bas «ought ongng ‘us ine lena of edomusslogy pardag he cic oony tha hat of canscripcon aes th dacunic wil rw o thc Eagan 2 conten f tha dalogae here cn be decsocd sa panaces Jilin he ret ime the percep td opens h Seve he ac of taser Iw daca msgs afsparcoe ects Frm wordy of eng T Nov Love hn he Wy cn of esengs hat ccignalyispaedero uke theses £083 of popula music" The objec of my inguy heres ot he rg oe ees enesy faa nd Send tur ptr septate seabout Se mesning ya ‘ihe fev poke ecepsons, nox popula mace sl eas the Isic fel Kad of "Sack bor —andacesed,clnow eeprom lewsbie" The gure, now ane Wha aly gong ca Treen resonable to metho anuwe che guaion, Iwo tbe Beds ap tet woud te oan cumciige tah lem The mae, dh ul bo ‘hole ‘eons and ic cova wha hardin de form os msl sore. Witha ‘Ese cre cou goo to podem sa eersing sure aces and scuerice had drove. Bathe poco of ang am ‘pos ruwelouttobe flan sulghdorsard das Thad nips tek hous wo ges sls pe Jory eeaibng a nin reed ek ‘ip Brey tener fo sh mun fond mot prblene wd wa Sed weinen down Dope thac dif Iloen he pres of ig ‘tanscriptions absoebing and enlightening, More than twenty years and bun~ 4 ‘Teds of tanec er Il fel ty oral he roles and | ‘te ey tee, emis ewok ong Try erly on hon ‘nye teach and sneerege them of ern tbe pope ‘Sune ed Bat dy any academe ae ser ean he presiponont ‘end the wok redo and cur modraon fr dong Many ou ld ‘otns about he etre of our dering of, ony ead tae that he acne ot nice” of men be te pom od scence in xt work ave bere calcaged We End ki Srominey Gia ro pend ur munca be ennpchnded ina Se Sek wou gud fs scl and tar cones tt echlap ct ‘be ideologically neutral, or that the work we do is innocent of political 4 ‘anion, 2 “lence T fel chat i is sine to examine the presuppositions spy wassedptions. Whec exacly do I do when T male» wanssioa! ‘Whar happens when I epresune corded sound in goapic form? What the elton of my tanseipsan f the seul recorded round? What dees Sie: Oui wo of ky ad eres “Who i, bb ete mind would not and could ot think it don, oo aoe, seeds rng it somly con vie in ocpeneg oe fon ce tw mulatta peed vg noida mai nik ane Win base172 kegs rie SiaeNawe 4753 because of ta npr star, and hence can only be perceived within tt Soeum, i Ong puts “Al seston takes pice in te, bu ound hat ¢ ‘pei elation to sie wales that ofthe cher eld tha repr in eid, ing a pie in ben atl fpoersbmers. Once the dec oo ee ay Bape pos for de marca 9 eet im ones ‘Bis sna, Sound exis aly en re going or of erence. rien = peuble bar eel erence and ig ese erence yatta or eapalze on ‘Tita penance word pence’ by te tel prs eae! Peroomes Unser sah is ge an bast be gne* ‘be pee is gone, soe ee "Notion enables ur to rensens the evanescence of msi. fico ‘Seale musi eve for slong a we wan, san istamtanously back an font in tine, or make side bysde compasions of temporal da mo ‘ments Through noision me can erspe the inexorable ow of tne acd cal performance ssn s jst one postble realization ofa ness, poral model ‘Se fr Ihave bean speaking of musi tation ia general Taso ‘nthe any ots nade essen I teed han SRG of ene or» eeney rsa in, Te yn of Son new wt doped fe, run abo ow th orig se ‘ican of arpen arenas pee men 5 ttn ac, Ceo ee Ata ped ing to a numberof dcretely notated parameters Two ofthese parame sare out the hom parts, and when be came back oor ony Rt office Dich end shytn—are reprsened wihin predsly dened wis played the whole band with che. fed mater. Other paramenice tempo, volume instrumentation, = ‘aio of tn and such woe rane cements oy oman es aze represented with less precision by «variety of aziteaily assigned a tha ana ie Tie amai f i {23 verb indrioos When we we is ye owe me va bs labo gs uni nt {ead to pay the mow anon to cove cements a ae om Pe Opes oa eel proce iovelig al he of Wake ‘Gremiged, ich and dyin. And oa espn of se denen Pranab by pny mel Arche ng > {ei cned be pii or raol enofs ed nore del ibd wee aad hat fe ee ones teh peeply egal eps and he ul be ‘Bus tne nto vn eboney spe tang cage nn aly Pals eum ony Sx qunios What ene eee ‘Winen scat, of ous ist one pose nde of mse ni ly nd leney tape se a colton cons pasar ert soliton tien ae a Goes aceacomes SE ee Sheba cee SSS tera ‘sransmissioa for jazz and popular musicians. For « musician workin178 RepiSane Writer 178 recording especially the allimportan: rhythmic fo, or “gros 201 wapsnited through noatin, and eapusing them in nostion Temes 50 ical, ifnocimponsibie Be coud a eanexpton alest anowes the limited quesion: Exactly what aot ae being played aod sung? Toa ere that guest, let se un tothe aco process of tunsrpion, fw setae iW ole (i ble” lA de al el dd | “Benn thor ora of mut sl ems anda BE comm — 'epor oho a sede pexornanc of xy sical und” Fa 4 Ml ig ‘menbes bard at waned oe splay" Neve: Loved A la” |e bie aoe) é" Fle bh’ Ga” | Seqean blow ould sere ean adequate foie Tei ‘ste the mew, dents eos ef tec wich a ‘es playin which vers, us the ues oferta ec Sin and geste as cho’ prograons " ‘Ofcouetis dagen coud st tan lone sh player vou shoe to lun wo te seod and now how fo prs these gue 8 ‘applanet, «memory a procat Lat suas anal ond Bars sree gts Bay a sas ye a 1 docipthe ent is wb Tavempt i gus 82 od | ‘rete couble beg iste a ‘Te tndbepbl es mie a mnned eis tag use den. This ll stag ps of mesa cs Elna bg leo neha pretie Se fa so emus pone et oc enc sharp eau “Sms more tans dat pen of con dale tang tesa yes fcinomuslgy ete adv of eroags eatrson ‘ince Tar anal of eorded sound mia get boon ace ‘et need mo coomascologins fel tar be Gagne would bre | ‘ee impose wie Wiha earn one ef ime ear al Boer ree cna coe ba "pc ihe” nade 4 fp vepetion, cm many saps or a ‘Se semded oud in orders the der ee dy. Our | tote stung io dw te pbk psd see te Seal ned STasiwer ace one as beter hace ofcachng ten therein ‘ito fe tae oundo bom or anata ceri ar ofthe Segue] specrum inorder to beer bar» paras Samat and steno ‘Siirence of other denens. A moe seen and ephistes os o technology is what I shall refer co asa “time stretcher.” This i device thee 1 care empo of ening wie ceaing ie gn te. ea fl ieee wil GIUP Be Glee tH | FPGAs rant atten ee a ee (Hh Fd! a! rere Teen | say pling creme i eget ofthe mus il edie D7 eg ian apne te apo « ny oe, kngbcr! ed vi ea Tp ay eso. Te pinay fea |) reordinge Aha Fl vlc andbermpnirnysbeandvar-| nl Resentment neni fatto dsunpsh sich notes on tp. Ses te pch &poponionndy MBL: sae. Masking becomes «problem: when sof sounds played combi loneted, se seis of he sands e dssedly ae, te sod Son wih «loud sound, peal ooe ta is owe in pc hres Hae eee eee ren ee Sides Tey de une | ietld beyond obich the sor sound ace ux dla wo ne but Secchi bet apa, te lc 1 amply the ng dsvoons ether ‘as expunge thon Inthe en, Idee or on ml nro ad wie Farbetopmost oe Onc prt ea are he cde plano pa a noc hard wae down, sce bed on ene pen (2) tht appcely t Lean bear th chord for & longer pti of tine, but itis even mow di180 Keigswe WrisgGarNaer 101 to wassrbe than the cece plano, A fl helps to make she part mon ‘prominent by cuting ou the higher Roques, nd my tascripion gos ‘Spootly unl I encounter te eghth-aore rans begining in mearute & “Here nd myself ac anther thesia of perception thought icy ‘he general rection of she rs, and the note ‘i which they begin and ‘end I bave dicalty ling inthe insrmediae cows, Whea notes go y © ‘play la such alow rege, ear has dificaly distinguishing bere ‘Sbalestes and al tep, or major did and minor this, 7 ‘Dasptethse uncersins, unscbing the bass parts delight, beso i fooses my ation on Tomany Cogbi’ gant paying: Tisten abe fubiy races the Basie cf pate in response o what going on around ‘i, punctunting the pases in Areas voclines and arculsing the age ‘boundaries of de form. Tam special neigued vo dover tha afer ew sure 12, Coghill has expanded his measure sf pattern to 2 measures, by “ariag what happens at he end af cach measur, hus Belpiag he muse breathe i longer sane. These coals ae hinge «cara tening may it veal but they ae stent the elle f the sng. “fe eight mearues of ze verse, Azeha begins playing scoustc pina According to Wealer, te song was rocorded widnoutoverdubs 0 Are ‘mus ave ben singing and playing at the sme time, Her piano pats er ible neneeperie, and complements er singing lls and puncrats Se ‘pauses berseen Ber vocal ines, One es her in the Bow of her plano pa {Be sods of the move cicunsesed,sil-syld pars played bythe tbe [nstraments i easy to soe bow ta bund pars erred fom Arch pase lying ducing the reherrsal process. Necles cosy, bez par wit ll is ‘onplectes, fr more difcul ro eae on paper than the thes, Arca [spleyng in gospel spe, ofen using fll bord in both hands he fica ‘ig resohng bamories no indivi pistes ae compounded ere. Tn 3 ‘ion, the hors are playing t ful volume, andthe dea piano coatinos, ‘fen satiny the dtl othe piano part ‘A moment parca] troubling ry ccs igbest three of measure 22.1 ‘ep thinking I hear some sor of gissando, a descending catcae of nos ‘om ahigh 3 at Teisaot sound ea satstacory duplicate on tbe paca Yim not always sue I heart th “phaorom plisando" dssppeas wea ‘medi the payback in some was Gor examsle, lowing the speed) ueap pes under some ather modcaone axing the me eetcher, Temi Fe ‘omer of complex esnance or oes sous ui, but hy then dee ‘Round lke cacade of ots rather thanx angle sound? Aer agonang cover thi moment for hour I conclude thatthe “phantom gimndo” mast bean lion: ac something thar Aha artally played bt someshing that years persis construing ou of ambiguous cud signa Tena goon o chronicle the problems Ihave in discerning what nos sreplayed by the ora, the bors, and some othe deals of te drama, ‘bt che essential por should be ler Ja the pars Ihave examined so fa, ‘he chief obsacle zo ranszipsin bas bees parental dete, ands ‘mental uncerainty over which acer were beng paved. The preci, edie _epmsataton of pth in gare 8.2 doe not rely repent ny prerpion (the perepson of any posible listener Tlookat he carne dcr have | omen ap the sal, with dee impliemion of « lea, binary spicy ther his pitchis sounding eth point ia ine otis 20t—and [know dat ftisalie As Ilisen, ean make ou some notes Ceacy, bat much of wht patie ia Gestalt in which the componen parc ar st easy separable (ridentiabl. Teen identify acho, but aot acme exae voicing ot Scoring Ica her thar lines dezanding, bat Teannot make auth ade | Sidal seas of the denen Ts jas palace, “ghost nots” ate “ots more inglied than actualy pujed"* Tbe elusive notes I pure wil tying to male is eanscipon tse" how? of different sor ne implied by the performer but infeed, | guested a assumed by thelistener/eansrver Were they acral payed, ot fia js imagining them? Thepin to arpest tag the ak Ihave ec yale fot jos ink, bur impose: there san uncertainty principle at more ‘ere. Too many of te dts Lam png to represent re athena anal, beyond the threshold of pesception and hence ireieeable no aunt of ‘ref Lsteaing or elaczoni takerng wll enable me to determine tem ‘Sh beak crsinn A more bones notion might be sade of ey from blac forte nots Tam suse I can heart almor inl far the one which a les avromaric TRANSCRIPTION: MEASURING THE GROOVE “Fjed withthe difcales and the intone of perception that have is sane my aterpis so fa, begin to think abour aig om ar ane ‘don to attomace srnsision—that making use of ome srt of machine ‘hat mechanically converts recorded sound itt «graphical sepresenation, ‘inomusiologss began experimenting with sch devier inthe 192s in ‘ones of nding « more objecsve mean of representing he mse hey wee sudying. Bat despite enommous advances in dig sound techology nthe ps few decades, the capable of existing eranssption devices ae eal ‘quite iid. Te meograp, which was first developed at UCLA i he late 1MOs, generates a graphical presenti ofthe change fn pitch endo | resofamsodicline Bure melopaph sof no use tomein my ead of hie F)eording, because can oly trk single line, Te secon of "INever J Loved Man” compres «gest deal af music information ino ingle tudo signal (or pairf signals inthe sreo version). Whea we Isto he182 Rapigsave recording, our ents easly sescve this lanl ico the sounds of wager of ‘sunt ineriments and voioe. Ye our undentanding oft nouolical fod phyilogel sechansts by which he ea secompishes hs fea formplte, And here isu yet no computes algorchm cat can socessally ‘slate the percep either makes Ss sesalucon posible. I wl bbe Tang tte bare we cam seks machine o prose full score oma enede sgn ‘Gives the cunt sae of our technology, then, ah auromati ans tion cannot aanwer the queon, Exec wha noter are being pled aad ‘ung? bec ie caanor spite each complereney tan ony rele ar Souls arpens ofthe masiea sound Bat tnighe prove the answer To some ‘mote limited quersons. At he very Jaan aura ranaeipon ight fee me fom the inherent subjecvay of wansebing by ex, and show mea 3 ‘automat devie might make posible, I Gide to cxperiment with com> Dureraumplingsofoeare tha generates a visual display oft eanclope (ht [5 thevaation in louces, the aca and deep ofa recorded sound. This ‘Hof no hal ia studying pitch, bur mighthelp mee understand something bout the cyte nmr ofthe musie- Of cote, Tam king avery die ‘xt ind of quesicn now: What can use this device to dscovec? Ny inguiry ‘being deve by the technology, aoe theater way atound. When he ‘ue ofthe musics complex the sampled display sof ie use, since thee ‘no way to distinguish dhe individual pars. But atthe very begining of "T [Never Loved « Man” only = few instrament ae pling, and wh Tusa ‘ler eliminate he lower frequencies ofthe egal Tx focus the splay fn te eavelpes of Aretha woe and the higher drum sounds he rt ‘gma and the sare drum. Figure 8.3 ea graph of powin of thar splay the as bea of measure 4 through the fst feo beats ofmeasue 6th Eesvoeal line begin by looking se drum sounds Since the attache nset—af ‘these sounds equi sharp and Sy regula, ies to pinpoint the point, in tne at which they begin, Mi sotwaze i ble wo measure the distance Denvees any ie aracisin teams of microseconds and I decide measure 4 allthe ezacs ia she dram parr for the nine measures begining in mee fe. Pchap there menrrements can jel some init into the matte Of the thymic aréulaon—the “groove"—ented by Roger Hawkins’ 4 ‘umming. This iu crucial cement othe sng, but one hat Westem noe on doe not sepesent, since ts « macs ofmimscule deviation fom 2 -ewonomicllyexac meter. As Chases Kel has observed, “Tes the lite Gserepancies within a jas drummers baat, bereen buss and drums, be ‘The ru of my mosrurement ppearinSgue SA, By thaoraes, tose measures mess Lie, To iaterpret the dats, 1 redo resort to vane nudinentary aumbeverunching Teall the ave "age duration of a beat (adored oarernee Yo be 660 miccvesonda Al ‘hoogh Roger Haws bet sounds sock sendy, toy meararcment eel $ipht devious fom mechani exaciness. The ctepances enge within | £48 mlecsennds or rongly 17 perent ofthe al of «beat, dfecence ‘ween sijthm seeson and slots hat este swing’ and inte us to pat ee) |186 keg seve ed WriingharNas 105 ‘wedin any other Top 40 popular record, before o since. Hankins doesnot sbdide the beat into exac tps, but instead systematic shortens the ‘ares nots and lengthes the eghibacter The chart at the Botton of ‘igure 8.4 compares the rao crested by Hselinessubrson (64:36) toa | few oer aoe its vomewbereberween 2/3 + U3 and 3/8 + 3/8 ofa beat | atale osc to the second ofthese (Thi rao also case wo the Glen © Seoioewa proportion some ther deg ia dcoveing thoughout | ature andthe ars—but t closer othe othe tro ntion) ‘The "groon” of a song depends aot only on ude shading ofthe sb ‘vile ofthe bea bur also on saings of diferent bens within the mew sre A “backbeat"—the ascension of metal tnstesed bes is © fe acetal cement ina groove. Ina iple meter Such a thi, both beats | end are unsuessed and Hawhins plas «sharp sare drut acti oo ‘eat (Laer on, hit Backbeat is supplanted by an even stonger empbise ‘bet 2: len 20 the hom accents in im, 25-27, and Chips Monat gitar pert in the second verse) Mi measurrnents eeal hath bekbest __ Ieenphaized in mos ofthe measures by «sight ehoneingof beat 2 and | leaning of beat 3: thatthe accented third beat comes iia ea. Tai antcipacion doesn't sound lke Hains i ashing the bet, however "posh because th Sal eihth note eubavsion af eat 2 i givens fal “as iste, the tne sobbed” rom the lial guares pote subdvson ofbeat2 (ey calculation of "evrage deviation from exact etal ine hebouom of figure 84." gags jl i Bel 8 ia | Heseaug g la fa fe le |e 8 Ie daggday 3 2 ie a ‘Seth of heen compe Rae Ga MUTA Bsr 100) ‘rane ee feenee peeeeat es Cony, if appropiate ecology could be developed, sutate tascap- sn would be of ges sein such a tare But even by ea, vith head of *hetine serces [cn ear some ofthe discrepancie or example Hawh- _ Bib debs fe seem tance he hts la Tomy Cog NUT Nona! Ute fine eco 8) this would gue, weal inpercesle. To get the "oor," thous Thaeioaweher bewist mtn! pate o Havin cepince “Tremere of ts sons —Laote ear 9, rough inoue enol 293: wh ile sbisiona-ix nique. Ibe hardin At Aners fespal mu, ba as far ss Tho ths parce "gooe” sneer bas408 Nasir Wengen Nr 187 sepresented in en aromas wansrpion snd musica is perclild bya Fema listener, He concider “An automatic tasciption should not be | ‘hou of «replacment fr aural znlscipion. They peiom diferent, bor eal usable neon. The primary value of asta transcrip: tions woud be wo throw ight on wit we do mot hear what we change the proces of easing or what we take for ranted ‘They en ao provide ting inv some ofthe ecrenely sob elements of musi which we ‘unot realy dacngaish sol, bur which might neverbelesinfuence out ereepaon ofthe musi ona subconsions plane” REPRESENTING THE VOICE 1 cs so ng: porpone my sans lh mos import nd ch lenge out of ts torn Fela vole. The ues fre dig lhe dies Tere pence’ a deen tt Go| ES ce gle eusgun a sor inpoanerapecn. A ene Ste i aad tse ne tempered sas wo woe cbr apa cb eprocoad wih once tm of ae pth {Rohn sel height econ sl vaio niga bg Sim ee bane she pense amen ly ey ete te wg 98 mex fer Aca Prk ag aoe frac iogte Ha ele ling of pic, cn, a bes gt ay one of ou ntasnl ton ew be ey ‘Ses choiedagoyntme fb enperseae oa ‘biguous subdivisions of the best. ecco bugny tng weth tagleshovan ue 83 rode. nie ie xa po echt vou pa Lowatag he being ‘fbecanrismcbnoce die nibeing te arated Stl melarmreanothand pada ce hae aed tt onset Sieg nbd frlcszg de begining ofeach berate mene ‘Se diane eee handy ld up appropri otto re Shi lange Ar mado adg tn bo noon Lem | ‘hythmic grid (figure 85), dividing the beat (660 microseconds) into all tbe dius beer? us 2 and 16, ' fae ale Fae seemed me cose of is ascitic, hi190 Kepinsave ‘Theres of this exer are shown in gue 8, which, wit fgure 85,1 inclode here only for easonary reason they ma lok very siete, but they ae preudo-cence, based on dabioas methods of dita colin, end en sp seme ne ed pene Fre “Tome, the most annoying ching about this experiment is ow fa ypu suit of objectivity bas taken pe fom any experience ofthe acu sounding susie Ts seni in far ofthe purig compose for hous, aking mex- ‘utente and crunching nubere The only sounds az ee the grovesque td obacsious notes produced by “sebbing” buck and fords actos sll, ‘egrets ofthe rample ty 29 determine the beginning ofeach sable ‘With seb rear to aural ransesipdon, For al he sarc and ops and sessve repens of ty scraps of sound fe in touch wit the mise tin: Aad hero, che time suetcer ia wecore a. By sowing the speed ‘Hie ening the og ich, enables me to hear the ites deal of Arca singing in clea ciel bough the suckers resampling ino (luces abu into the ibe, tomy eas he sounds by no means gotesque, thas is owe hypaotebesuy. Every ube shading, ormarent, and arcu Inion is drawn out and dwolid upon and as stn repented and atemgt to caprure wbat I hear on paper ay respect for Arch Franklin's at coo aus to go "What do Thea? Let me arempt find words to characte one brief passige—meturs 9 and atthe word "And [dent know why.” Are ‘ha begin with dewate lap of tenth, fom a very quit low Fon the ‘word aed up 1 aa intense rising omament onthe word I «slighty Ba A ‘moving inmodirly up to B dst. She reverses this Sgure oa he nex slab does, singng a downverdthrasing Bas / At appopsatra. The ace {80 wore bn oy, ase separated bya soble pesage aco Se vor ‘break a slight catch in er ves, «het of fale, anor a sb (the ple PringGiertinn 189 line «me gd te = eer ‘cdg om el of ts faeno ote exec est, ot Tbivearicen at = igh ‘ha ©. The ord sy conduit ceding cane Bat Adgt/ cet ¥ eso apiraed beets do teendns Of many of bo cher pre. Then poweti eseing the way Se tld saranda ema mor he poe! Pel ne SSBC dtnow ny Ley do exe tings wre) “Ascnpung to are ngs mee neeon oly deen vor ad snc wo octet pre, Te use fi Ger ota ten maybe appropiate fs Reber le> igen wit “Pors owe bet notes wate Tey know tase icccodsour gure und ae berdand cress nv tao Siti rcbis ecngecenpe iene cnr enol onepmt Sesencaperearsip a anata fad baer taimnsos ise $0 sh staging” Gyrdngn segue thy ora190 KapieSane Writ Gio Nr 194 ‘ood spe such as Ares cannot adequately be represented asasaceson of notes understood as “ators of ish single ai poi inmate tnd pace Ponts have no insides butte essence of Aretha singing lis [a what happens “aside” the aces: pitches are not fice hey Bicep tnd down, they sift in color and tbe, they ae shaped into orsasental stabesquss. Gjrdngen bas developed ax degant vara ofthe meogpb to represent hese dra, bu, ae we have lead sen, a mslograp cannot beuted here. So decide to uy to adept Waser musi noution 1 my ‘With thee symbols tempt to show some ofthe femurs of Arethls ‘Alcbouph Ihave ted to be az precise and consistant ot le hese represenstinsae-—once gua—ulinatly based an sbjecsve ‘The distinctions I have apd to make berween varios inde “the ellaro poruay such feces in Westem notton,tansribershave | 4A! pdgmente of pth des or nowbenda might be dan very dierent by another eve an ary of spec tbls the ones Ihave exployed ia yuan sedptionacelied in gure. j PT yep oft som of ren gg sna. "Ieguvo diet eae wy be tom Syn yn a ‘lightly before or after 3 particular beat or subdivision; should I attempt to fs sponthee arise ary? latesptocemproneberencresite Spay nd ong cra yan vay ce son (Bralae is ooroine ar coed ch by te mio foe Breen pn ryt ef tgs Tae [Sap scopy tie tone oy compl. ‘us capiny mcr pt on naa of cctceal ee _ feds pine pie pin on ns peng Lak ao crm tars hr evn bce ore ie ‘tod duple subdivisions of the beat. The duple subdivisions are polyrhythmic She ac ile bins tie 7 ces penta oe cane = fens hn cre Sed ns congue cmos eos Setar began onic bts Te tet angles waren Sr" po ences secea speeded cath ce sr the op begin o ial cnn fe 2. Toe Tb is del prin ery cea he Bear pa o _ shea: Act eagig so mpreire ed parity wing i css fbr pane Tare [ aprey wing shen oan epee pes | elles weuc seu inca ve ik farina ‘Seascapes sr nese Sipe sol scniy alloted ore LSotIE i coerce acne ented ender | Tein on be doraens bot hax toa cee ae pena _ sonal inane eG soe te sod fe Ser od192 Kept ‘al sucs ofthe vere, and could be shought of ss momentary etluions ofthe censon beween er sythm and the meter. Could ilo be sgifiant thar bot are everson pronouns I the midst of ber anger and confsion tout hee abasie love, wen ae refers to esl she rounds herein che ewe Aste sougmeves int the chor, Aretha places mote and more of bee ‘Hester on thebet ua, beginning in eanune75—thedinaxofthechors teu he begining of et thee mearore voc beak—each srs is laced quay onthe downben of the mearsre. Tae ending “book” of he ‘loro thus reales the shyt tension che had se up ei, usta he ‘word tum rom ambience wo eiatin, "There ate her important dinesins to Area’ sagng, such as daa Jey spd tie, hat Lbaven't een ed to represent in this anscripson, ‘Areal shaping of dosti i a inet and Bebe as ber shaping of ‘ery other aspect of er singing Teould pepper the core wth cescna and lowrcen pion ad for ether are de indicators and again, would five to make diffeah Gdsons about how much deal to chow, fr every ote bas unique dynamic shaping, It-would be even harder to show sy thing shouther oe of weal nbre I bae indice paces where she sift Ihe tore sounds, bur beyond tht I would have o inset a whole new et ‘of symbols to indiate how abe varios she Eighies and dans of her Soi, Ad wo far have only mendoned the Ines ofthe song, and Arh’ eclunstion of them, n psig Tus remember thar i sepanting out thee discrete “iesios” or “aspects” of Area saging—piteh,chythm, dynamic, timbre, et Seeing am being high infenced bythe notational sytem. These dis {Snesoos have i to do wit he acral ac of peremance, or with how] ‘rpeneacelervoice, wou beudictouso imagine heft deciding wha ‘ots te sing, ten nee o place tem pci, then what amis App As eke eng, Text, aot an asembags of cree ingredzas, but ¢ le coi he feu of «und impulse: When [lita ober singing, 1 (as fel that imple, bat 2 sot anything ean describe with any pecson (On pope Tne no way of representing tat imple, he bes can dos 0 ‘hope that it night sonchow be infeed troup he taces i lave inthe ‘about dimensions my aotaiaal jem is able to represent Having completed sy tanerption, mast sk: Why hase Tne this? Whit teria cevatons for peg al this me fusing verano recor? Why [sic imposantro ryt Sad out what “realy going en” inthis msi, ‘Specialy when the procs has proved so dificult andthe ess 0 ndere= Wine GheRete 198 sate? Whats se value of sucha wunscription? Wht us ca tbe put to? There ae several ponte anewer these questions, but each enewer ‘ats farcer questions. zi ‘ne: To Show Wats “ey Thre” Musi outin isan undeniably wefal tol when wing about musle Te ‘an gives reader who bas no aco ona recording ofthe musi a sketchy ‘notion of wha emighe sound ike Ta particular, notion can funcon as an (Bisa way of woliting and elevng to specie passages or individual le ‘nents inthe musical seam, (Such funcons may become obsolete inthe ‘ext pecration of media technology forthe sesder/Lstne: with aan 19 the proper gadges, writen txt and recorded sound may be éyiclly linked) This modes fancion of sotation—as kind ofiadex oe buepiar— ‘inno be Gano! Butt must be remembered tht a nnaeipdon isa Blue tne daw of hebilng s bulk. And one mus ress he tepraon of = lsahig the bgp fo the building. ‘The nua of my sages to note this ecordng shuld be sn danas at ces Se ra seaponiySeaies cesatpsco ea of pues, supposons and arian dedsios. My old quetion, What ots as being played and sung? can never be answered dete. Keig [A uake to thik of trnaciber ata scent cjecvely recording a ‘al phenomens. The tunsorbers role cannot rely be passive a detached ‘When taneerbing, I donot tea tothe noes one by one ine arent to © ssp a fequancy and voyehmic value wo each ely hou lage shapes, Gest, which Tarerpé, with varying degrees of socces, 0 break down Jaze constituent clemens Prodizing and gusing ae eset pars of he 5 process Do hear aD ot ac Et ets chin bese on dale o tle ‘abaesions? Ty to heart eter vay in um; Ising it both wa or pay t (nthe pane, or beat out she shy a listen. The disuting thing tat can often beac it foe ways (hough not snshancosl), My mindset my _ nal image, as «pros dea 0 dows what Lew ‘his eany [have woten of notaon ax she unreal appro. nation of real msi. Bt wha i he narre ofthis ely? I the st of Bye wave form encoded in he seconded medi, repreduced tough implies end speakecs? Ori it shat we as Hstenes Bear? Every listener hears sigh fee thigs, and everytime [hear his recording Theat somnthing diferent. Pnception & ace mel he ine of sente dat, ‘broke atively ntrpresng the data and matching them apne imapined ‘nodes Nii Jarasoy wrtes “When istening oa fame enon, oor “angi nlloenced by very specie memories, a wel ag musical sata,4 Kops ‘oth of which induce elings of atcpatin, rustrason suspense, end reso Ibs. These feelings rel om an nuracion banecn whar we expect | Jae and what we acl does... There, and pepe akeas wills, large gup bervecn what an automatic uansetber would ‘bar’ and what sb ‘xperenced tener of particule musa idiom might hea”™ "There an import corollary to this cheer, At the ous of is project, Tsaggested a simple procedure forthe study ofthis muse i snake a anseipson then analyze iz. We can now se the fundamental fax in this procure the transcription must al sst oa sale pessppas: tions, Though ny ase tascriptin gure 8.2) seed to stad ons, [ewan infact conssoned by my knorledge ofthe syle my yeas Of eng to this recoding, my insiacs 1s a compere and pereunes Tvs looing for specie thing isthe musi and [found chem, Asche eansxption pr es eto aed rsd one pectic urs, acy aun ‘heides of separasng wanserpon fom ans. ‘Whar ti all suggest i that a raacripion ie not so much ascent smeasuramen: of cata ati, as Pandora Hopkins has suggested, «Kad of ‘workof arin self “The notion... ofaousion a dient and disinetat form free muse]—a way of manipulning vival dexgns to communices ‘one’s individual impresions—ene'opinion—of music osher people at ‘een cb oneself seems 1 ws not ony valid bat rel fasiting”® The ‘cera The invoked in making decisions about how and haio tans | Ibave Been at much ase a acenide My ace at a wanceiber ee is ikea physical sient taking readings fom inerements San they se [ike ansaer renderng «poem from one language ine ances “wo: To Support Arguments abouts Hist an Socal Siicance ‘Why fas overt parca secon? Thave made no seresfimyadmieca forie-BureofarVhave spoken oft as though ir were an "euionons” wos fart Ina spear cat am feihzng this song, thatthe pain lvsing fc sttenion ont sto demons i al dd foe elo canoe t ssa wou of “Gee An” that "eanscends che oc, the poland he senda." Tso doing Tam put of reproducing the very habits ofthought Tam anempring i ericize Aba coreuive, ln me earn tothe ery bed | this recording, to gve «bi account of wat [sss tes ne bier “T Newer Love « Man" was tbe song ha iniacd Aretha Frain ie to sardom and hence repress pra moment inthe ifision of A= American ses oa mass cudince: Though she was ot test lak it tm achieve success sngng popular sic in a Gorge based spe, Arca WraeGheNoee 195 | -Bnmllin was she ist wom to do 5, and her ppalaiy wit che in ‘sream pop sndinceecipsed that of precrsor suchas Clyde MePharer, Sam Cock, or even Ray Chasis. Th genre abe enabled il occupies @ ental posi in populsr mai: conemporary examples inside he wok "of soch pop/toul divas as Whines Houston aad Marsh Care, and the ‘blgtory “soulfl” ballads that accompany the ead-aede of eo any statepenay Holywood fms. "The record is aso significant because ofthe racial and gender politic that suounded ts making. For ll she power and ssusnce of the recceing {ould have ben an cay exon for Are, A rent deal wat dingo Sn Jer fist esion for Aan, She was singing and playing woth an al-wite baad recording at Fame Stadio, near Mose Shoals Alabama, a sal || ots a sna southera town. Arctia and ber husband were the only Aiea | Aopecinos presenti the sudo, and as fara Tea el, Aretha waste only ‘worn present. Jery Wenler, Adan’ producer, bad asked sudo owner 5Bick Fall to hire a hor secon with some black musicians in "T dnt | want preseat Aretha and erhunbaod, Ted Whit, withthe specace of |) wal-ovrall white band. But Rick dia’ bocker to ge 'em, 4 the whole ‘hing was whire"® We daa't have o gues wheter there ws rial tension tthe session, we keow there walt the evening adghveropted benveen Ted White and one ofthe hom payers, who bad used orci epithet. The || espaning Fume sesions were canoe, an fom thea on Weade seceded Sota in New Yee, dying ta his south masiane and making sue ta ‘he band wasintearted "But desi the tension, think ft ly cea hat the mos poweful igre athe session vas no the producer, th composer, othe ranges bat ‘eta Frankin herself. This was apical of meording veins athe tie, snd was even appeal of Arch’ om recordings in ter years Is was she | ho chose the song, toght othe other musllans, and shaped the aneof the periomance throug her singing and piano playing. Ae Roges Hawkins uti, "Aretha emotion made eveything work. .-1 played tbe oie." ‘Though shes no credited as 2 composer her Seid poeple ved ine ‘must have amounced toa fundamental recompesiten af Ronay Shannon's ‘ignl mslody, usta her ltr verens of mach songs a “ElsnocRighy” ‘oe "iidge oper Troubled Water” ecompored tore elo, And ata ute tha she improvised the adonal ye hat are jst barely audible in the fade-out, cs hat cing vere the passive Vics ole poruayed in ‘Bebedy of the sang: Tat acer bade man hereobad © Bordsivwhar im goa do bow Telyea im gonad on198 KepigSone Ey in this es T complained that pops: muse scholarship oo often ‘wea the music isel as. nd of unknowable “blac box” Can the nae ‘ie we ave grind ofthis music through wansapticn and analysis shed ‘ay lipht onthe ail and sender poli surrounding the prodocton of he ‘cording? believe tat many of the mscal devas I dacoveed in te | ‘our of making his wancrption confi Aretha’s dominant posion ia ‘Bis ecording and ber nfueace oa how the other muscles played. Can we sofarher than that How exact dhe sje atthe playing ofthe whe ‘usians? Did thei eye have an afer om er? Did this muse ealibors- ‘Sen succeadinreseting the racial and gender tensions impli nthe ss ‘in, or the tenons leave esl ean in the mac? Can we “ead ‘he tat” ofthis ecerding fr evidence of the unresaled coawadicionsia ‘Be socey dat produced? “There al zoom to explore such quesonsere,butfwe weet compare ‘Bistanserption wth anspor of cherrocords—oflaerssions ere ‘Arethalsoen nputhad diminished, ofher wore thblacbanda ch sKing Cari’ Kingpins, of the Mice Shoals nls work wih oder peconers— sve might bepn vo find some answer, Nevertheless a iy bins 0 ‘conneet specie observation tobroedscialisncs. Isai e770 ‘generale from meager evidence, to mistake ubjacivereacon and pres ees for bard data orto assume that faming ope obseraions in then (gugect the te French ntelecra fachon il urate oak cele ‘alc. Yer if we fal vo atempt 0 male such coancesons, we can ily Desceused af ing tvderane “Thee: To Estab te Lapinacy fhe ale have not yet answered the charge ths, in he ac of tanscribing and ana [yang ths dong, Tam making claims for i rascendent ale, or "canoni |g” k. Could my eansecipson be interpre a an atampt vo exablsh ts legitimacy? “Ths & an oveny politcal ue for nested tranexiptons: ro endow am Sa saditon vith sespecubliy by preening ein the same upping se tne presents Water concer muse fa snnotncing plans fr the acs Mar terworks Eakins, «sede of published waserpions of cassie ax perfor "panees by Dake Elington snd ocr jase masters, Ganter Seber ses "in our soley, ass wil never be recognized ea flly respectable ious stunt we have evalble a represaative and substan je Serta 9 be studied, ro be performed, es in mine Hora and one, and hoe ‘be serra jst a muchas we rere date music” Seiler’ si {> esublsh «jaz canon that canbe archived and eibined i uae “bess alongside comple edons of Europese comporer: and the n= aig ChasNee 187 ‘ional monument callesons ike Deweler Deter Tonk, This ia ‘reve pall strategy and desarves to be taken trond [fedl that not ly jue ot many eter kinds of music marginale bythe academy nay if whieh Schuler would oppose admitng into the canon)—ncicing the ‘nu of Arwhe Fanldla ere serine reper and motion, abd thet sud should bee ar of ny musician's eduction Ia ha sass, Tan apuing forthe “esoniation” ofthis sons. "But Schull’ satement makes me uncomfonable, because i seems > ‘ply edging the music by inappropriate standards It appears o bale ‘Burocetam bur uimsely capialates wo fe only stated ma x rly “reipecable and sows,” thn ths mie mast be notated My ncions of ‘Aretha Faskln’s singing may lol as complex as many "secur conte: porary sores. Bur hat should not be the messre ofthe vale ofr ars as sre have see, the comple ofthe notation is as much a egos af the Soasioal stem stirs reflection ofthe tue complexity fer ning. ‘uusaription isa very poor sabtaefor acral heating er vice. wee to ke th music mousy, we mur ake serouly on own tens, ‘uascription can bear ad otis but we mus avd the empeation of hake Jngof the actions a subst forthe marc ele "The danger of nosed scone of “l Never Loved Ma the, is the tendency fr sucha represenction to pace tin the alien context the Eo sopemn art music rdition, If we ate fo expand the anon to ineinde manic such a hi, tis imporane shat we expand our Same of merece a wel ‘We should undead tat recorded sound, nota teanecrbed score isthe " pimary medium in which this song exists: And we mus regard dis song pot {sm autonomous, acess producion ofa taoendent arc “gene” ‘betas the product of oil and hore men in which sce and through which ts meanings ae constructed, Four To Reproduce he tun Live Pectomance Formos ofthis essy, have been cancomal wit detipsve rascription. ‘Bure shoulda’ gov the praca sae of prsepivetansxpioas, Tie | ha been che mor frequent motvtion for atscipon ia as. Te we of ‘rice transcpons of inprored slo for pecaggil ponposes caer | nck tothe publication of books of “ct ramet brea” ia the 1920." "More ecend, sine pedagogical wansrptions—both in Wester nos “Soa and in guitar sbulaure—bave been pubisked for rock mosidane Sodh praca trnsrpsons, of couse, donot have ro eapare mats of syle performers are always encouraged to use the weasrpions in andor ‘it recordings, ad evn if they are aot able «9 do so, they ae expeed ‘2 wsdesand lew "swing" and how tp achieve idiomas phasing sad198 Keane rigor Nr 108 acultionshrough sural means. Learning notated solos ca bea, ele: sway to develop a epertory of improvisational "ks" ~ ‘A more problematic employment of ransrpion i inthe rsen “Jax Reperony/” movement, in which cate rcordinge ae recreated in veer {formance Tn nsounciag the "Jaz Maserwotes ations," Gunther Scbulle ‘sig, "Wie its ve chat we have great jez performances on record, re ‘rds are not ving legacy --- aay musi ats no kept lve ive pcfon smancevil die sooner orter”™ Tove made and used many such ranscripions mpl enserbing pace sags by Babi lake and James P Johnson formyl and vlor by each psy. (25 a8 Benny Goodin, Sidney Bechet, and Stpbane Grapell for ibe: | ‘musics. But Iam uneasy about this prasce. Is wing rnseipsin a Frclitte he aoe forgot eproductin of ol improved many Yee ag) ‘walys ny of "keeping the mc alive" Irimoiver fundamental deren cof the way in shich the muse was produced. What bad been an impror ‘scion, ¢ eystalisation of « pariodse time and pce and combinason ‘musicians, reed a a compesion, score tobe reproduced as Wests ‘= muses reproduced, In order to bag the music le, T mar ate: ‘oinfseit ith my own musi spi, jut a do when [am playing Chop ‘or Moar. As Chsks Kell pus, enced sene i ony "a pevibed see ‘enon which te hang the fish aa bed of artal mscaking”™® Ba ‘playing masi that was pever meant to be tansnited end produced ‘hough notation, and thar cals the ence eterpse nto quaion. When! ‘ply su, a Jel Rall Moron piece from one of James Dapogny’s excels! teasers, am Tbinging the musi lie or am Tembalming i? Should ‘Thecompazed ro Viadinis Horowitsperfomning Chopin—or‘0 Robin Wi. ‘iam imiting Lous Armstrong? ‘nzlleralycommined «moog ws wo become scademice—those who ae _unonfarbla with nexplenbe semua responses and who wish t be able to conrl those responses exons Yt muscologie ls ae individuals “tho find themselves drawn to muses imestbly thi they dedi chee | exeersto ting igare cor what makes irc. Ti combination of ene | srzncion aud fear ofthe zaonl or of the sensual crests a eange ot of roses to see che cers that are most profoundly disubing aad 07 fo explain aay—through extensive tebalzation and theorsing—that | hich caused the Geutbence"™® 5p ston to shee mined peronal moves foe tansciing, Tat 2 | nowiadge te role of academit poles. By briaging popular msi othe province of scolatydscoune,Tand saholer Heme ae enabling anew {beachhead for academic colonization, chiming new etary for he proce: | on of tens of exchange in the academic exenomy. conference paps out [> nal areles, doctoral theses, and books sch as this one By contbuing he {ay 0 « book devoted crcl reralaaions of musialgie parame, Tm parcipating in debate da, whatever other mosis sd ou Yh comes, pase of the farher profraon i act ough aon) of such F sadshic curency. Tis currency basa messurable economic value tithe [Besson which weare emhated when we are considered fr aeadorsic po ‘thes for promotion orforcenur. ‘Thee is a0 easy eeape fom such lemmas: hes ate the rules of che “game, dhe condizonr under which academic production le made pole {Wen the nay of popular tasc—or of any pezomneoa of ons clare ~ lnredaced to dis economic bottom line it a seem cia pot acierous. | Tlsnot supeising thatthe popular pres and the recent crop of ence | cts of academia wea such parse wth com or derision, We nsed 12 retain a ss of humor about hat we do—as Philip Tagg rena, "Teco || be aioe a tines” —burwechould no oe sigh ofthe importance of | whet wear atempting to doo understand oar musical environment and | Rcefiocs musichas on our lives re: Te Appropriate esl os Curenoy or endemic xchange : “The lines forthe polis of tanecripion is he academy. As an ace ddan, operning within the parade of te academic commu, need cone er espe mio ht eh ny oars oa ‘surbe must own hat here nein which alan atuaecspto {ining posestion ofthe qusic wanseipion can fcon formes abd | ‘f vearoos compostion ot puromance As Brano Net ote, “Having ‘made a transcription gives... ethnomusicologis a crain sense of ice ‘owneciip and cotrl over the music that hey have boris redaceda ‘The up owacd possession tovard ronal conta eof courea zomg ‘motivation for soli Susan McClary and Rober: Walser ave pointed ‘ur some ofthe pall contacto thi orge cam ives. "Tet the ‘Despite the aegsve ane ofthe last emai, Il blew that anscip- ‘ia san ncspenable tol for eracying music. Bur we mus his200 Konig Sve rine Gtow Neer 201 ses, Rater than seeing i sa way of distancing ost rome muse ‘manirption shouldbe sen «deep and intimate involvement in msi ‘proces. Th gal should not be an objcive speesentaion bar just dhe ‘pp! transcription most be recogized aan intnalyubjeciveare And {his should beecogized not as fundamental weakest, but sa fundamen alstrengh. ‘Brune Net emphasivedthe importance of ranscripon a leaming de ‘ie: "“Teansrpson by ear amounts to carflisesing which sorganized that vacous aspects of a mosia sige canbe pereied in semebind of order. [Lstening oa pice witose thes of maneribing is, ina sense, ke eat tng alec wahour tag nves—eomedhing which a rales bo hich revuks ina more genea, special impression than doe the icensive ir | To presen «notte score at an objective represeanion of « comple place of music sacha “T Never Loved a Mas" isan ac of arrogance Burto -Mlaupt to tanscube i, a aay ahnamuscologiet know, i eon in lig Ts dhs spl of bunny chet we mot never love wile parsing oat ‘cholyenterpises. od i itis pit of humdi tht we cam pas on 10 "Gurreders and oar sadents. We must ll thems “Len Liste agin These oreo this musle than youthink™ a ‘ening withthe bel of paper end penal Tsou sae Nez rears even more song: the prisary usefulness gfe = pete ne Suga Robe ecg Aner, Dail Wepoath, Bob ‘of transcription i the process, not the product, For me, the act of transerip: lagmee. Walt, David Bracke Krin Gsbbar, and David Schwars ion fous of medion. When I enzo, Iam interning wh he = ‘muse I foe my aueson on every etenestainiag wo hear what de must | ae fee a ‘ans were doing, atching wat Thea agains what em reproduce, wat l ered in Pores Mes Troy. Mees sad Pst an manage wo represent on paper, sharpening my evarenes of those au ee soos and deals that elude ansrpson, At every tura Team something @ ‘ew as match my expecations and my experience with the sounds acral ‘tl felt chemsicisshping ms changing ese golong Taming fae Pace, lepeing Ptr Mane (Cambie Cambs ry 93% ‘exoxiomaed byte musi Iam ling fide Fs om felg tho: EE 2 ‘pion alors neo owes the mi {fed tha he mu owe Sad Tue hike workof ease asap at fm nel analogs tothe eof she truly, the the seu Rodd Pats for ea | : UIE) yar yb ad Sonn Neca od ee Wier Sa aking Se laden thou pal te tranats should “ow bis angageo be pow ee Sc! cfr afoad byte org ngs He mst oind we peat HEN fe as fig ae tats Woden ol Pins Gieiraasclicle Seag!t neataeecszae | Seer rape merge oes tn | lea eee sic smecgin es e wencecoaesT ry rs i e Te camestee eam im eee TB es ae seein elicios torsscmaras, 9 es Pe ora do tenis a | ‘tbe readers have access to the orginal recording, Following the recording 3 ‘Aatic CD £16682, Aretha Franklin: 30 Greater Hits (1986). segs ape ea cede oom te ent amine cee re ao202 kepinsove Wing GN 208 9 Bato Neh There Mal soy (New WASP, of Ginee 158) 1, Bands Hopi, “The Paps of Tron” Ebnmsiniy1, NEL Dorje Mand Easing 127-28 939 300—17 Quoted Wks Bnei, “The Tuk ofthe Tater” aminatine 1 Chak Gi Making Tre: The Stor of Ant Racor LndonScue a nice, 1974),28. : 12: Chars Seg “Presipie and Dect Mak Wing" Sur Ms ea, 195-1975 ete Une of Catrina 1977168 ‘Ds The doce wed ws ap Bree Ur armenia, wich ba ben Sas eben ample” dip 1. Gunter Schuler, Th Sing Be ew York Ono Une: Pres 195, i 1. Das ew tempi to py zona ears othe anf pp mui be ten de so fa Dt Bech, for iance is ed ene se trogess to andj he tie ques of secordngs by Hank Wits Jes ‘Brown ae Eis Case See Dive Brace pein Popul Mas Cantal ate Pas, 198). 16. Testa ed as Sound Denes? 17. Chasis Ket, "Parssacory Disepancs andthe Power ef Music” Cae! Antrpolig 2,203 (9872 217 reped i Kel sd PMs Gro (Sk ‘oar o Cheng Pre, 194, TE. Foreue of eapurce Tae repeated tens ad deities fn sguhemaiel sonar in gare 84 by teams of Nest A uebny ycm ‘Norlzal Uns of Tine (NOT) sich repress dns isms of 100 ea ‘pat Se Jase, “Nona Unt of Fine A Countepe for lat Ses of Ce” Seed Reprinting 0989" 13-24 19, Nels A Jato, “The Ope ad Sujets View Malas ony" Ebvomarlg 2120.2 (19775270 12). Rober Gjrdage, “Shape and Notions he MiroroncfSo0p” ae Pepin 60-1 988) 39-38 2k Gergen, “bape and Noon” 96 2 Jae, "The Orci an Saja View" 268, 2B. Hoplin, “The Puyo of Tsp," 3D. : 24, Janet Wale “Toe Telogy of Atenenous Ac" a card Lepper and san Clary oe Ma nd Sony Te al of Commotion Poorman, ‘Rerpin Cambde:Canivide Uai Pres, 181 25 he Bess, Avte Fron, be Que of Sul New Vrs St Marl Pra 1965) 5 Thomason ine eander of hs parngrghirom heres 26 Bid, 36 2. Genes Schr, poser for Jos Maser Eos, gonad in RPM | 0989) 16 25. ov cone mary and canon of ja wencpion se Mak Tek, “Timscpso"in The New Grove Dior of oe Cason Maca, 38), south 2, Sls, rogers 6. 30-Kel, Papo Decepancis 29. DL Neal Thea of Ebro, 78