Accidents, Hooks and Theory
Bibliographic Data
| ID | 4304710 |
|---|---|
| Authors | Charles Kronengold (corresponding author) |
| Year | 2005 |
| Volume | 24 |
| Issue | 3 |
| Pages | 381-397 |
| Publication date | 2005-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Popular Music (JOURNAL) |
| Journal identifiers | ISSN: 0261-1430 • E-ISSN: 1474-0095 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0261143005000589 |
| OpenAlex | W2124851691 |
| Language | EN |
| Citations received | 6 |
| References cited | 3 |
records often include accidents. i suggest this tells us something about the flexibility of musical practices and the limits of theories. musical 'hooks' provide useful test-cases because the hook is normally considered the least accidental part of a song. we imagine it emerging fully formed in a moment of inspiration - the catchy phrase that comes into a songwriter's head - or at least of calculation: 'i'll see your vibraphone and raise you a mellotron'. but hooks sometimes incorporate accidents or happen accidentally. if hooks are less than completely determinate, then every aspect of the popular record must be subject to contingency. i argue for theories - and views of musical practices - which begin with the recognition that accidents happen
Accidental · Acoustics · Art · Contingency · Epistemology · Flexibility (engineering · Hook · Musical · Phrase · Subject (documents · Visual arts · World Wide Web · Computer Science · Diverse Musicological Studies · Engineering · History · Mathematics · Music History and Culture · Music Technology and Sound Studies · Philosophy · Artificial Intelligence
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Soundscapes
| Citations per year | 0.38 |
|---|---|
| Citation span | 2010 - 2026 (17) |
| Highly cited | No |