The Pop Palimpsest: Intertextuality in Recorded Popular Music

by Lori Burns, Serge Lacasse

Overview

Within popular music there are entire genres (jazz “standards”), styles (hip hop), techniques (sampling), and practices (covers) that rely heavily on references between music of different styles and genres. This interdisciplinary collection of essays covers a wide range of musical styles and artists to investigate intertextuality—the shaping of one text by another—in popular music. The Pop Palimpsest offers new methodologies and frameworks for the analysis of intertextuality in popular music, and provides new lenses for examining relationships between a variety of texts both musical and nonmusical. Enriched by perspectives from multiple subdisciplines, The Pop Palimpsest considers a broad range of intertextual relationships in popular music to explore creative practices and processes and the networks that intertextual practices create between artists and listeners.

Product Details

ISBN-13:	9780472123513
Publisher:	University of Michigan Press
Publication date:	01/29/2018
Series:	Tracking Pop
Sold by:	Barnes & Noble
Format:	eBook
Pages:	380
File size:	7 MB

About the Author

Lori Burns is Professor of Music and Director of the School of Music at the University of Ottawa. Serge Lacasse is Professor of Musicology at Université Laval.

Table of Contents

Foreword: The Intertextual Network - J. Peter Burkholder Contents Introduction - Lori Burns and Serge Lacasse Section I. Transtextualities 1. Toward a Model of Transphonography - Serge Lacasse 2. Genettean Hypertextuality as Applied to the Music of Genesis: Intertextual and Intratextual Approaches - Roger Castonguay Section II. Intertextual Analyses 3. The Bitter Taste of Praise: Singing “Hallelujah” - Allan Moore 4. The Electric Light Orchestra and the Anxiety of the Beatles’ Influence - Mark Spicer 5. “If You’re Gonna Have a Hit”: Intratextual Mixes and Edits of Pop Recordings - Walter Everett 6. Someone and Someone: Dialogic Intertextuality and Neil Young - William Echard 7. Intertextuality in the Nineteenth-Century French Vaudeville - Mary S. Woodside Section III. Intermedial Subjectivities 8. Rap Gods and Monsters: Words, Music, and Images in the Hip-Hop Intertexts of Eminem, Jay-Z, and Kanye West - Lori Burns and Alyssa Woods 9. Performative Strategies and Musical Markers in the Eurythmics’ “I Need a Man” - Stan Hawkins Section IV. Intertextual Productions 11. Intertextuality and Lineage in The Game’s “We Ain’t” and Kendrick Lamar’s “m.A.A.d. City” - Justin A. Williams 12. Mix Tapes, Memory, and Nostalgia: An Introduction to Phonographic Anthologies Serge Lacasse and Andy Bennett List of Contributors Index

Editorial Reviews

What these essays demonstrate again and again is how fascinating it is to trace what one song draws from another and how each person—artist or producer, musician or consumer—uses old threads to weave new meanings. Such interrelationships between pieces are a fundamental part of what makes a musical tradition a tradition.”
—from the Foreword by J. Peter Burkholder, Indiana University, Bloomington 
 

From the Publisher