[1] Allan Moore takes little time getting to central point of Song Means, presenting in second paragraph two questions book attempts to answer: What meanings can experiencing have, and does [the song] create meanings? (1). Moore focuses not on itself, but rather experience of song. Rather than center around supposedly inherent meaning of or within (the what), he examines how [songs] mean and means by which they mean [sic] (1). He focuses throughout discussion on tools we can use and process by which we arrive at conclusions regarding personal interpretations of recorded popular songs.[2] Interpretive analyses of music-popular or otherwise-often concentrate on meaning of piece of music. These theories are developed to find answers to questions. That is not Moore's immediate concern here, however. Rather than present theory proper, he presents methodology for determining meaning, process he describes as interrogative, with purpose of accruing a bank of questions to employ during of (9). We, listeners, determine songs' meanings for ourselves by asking questions of or by investigating questions that presents to us. This book describes process of discovering connections between elements of and listener's personal experiences. (This, to me, is reminiscent of mathematics, where the work is just as important as answer itself.) Ultimately, by employing this methodology and accumulating these questions, we not only learn more about song, but we also learn about ourselves. This is point to which I will return at end of this review.[3] In introductory chapter, Methodology, Moore offers his reasons for writing book, along with an overview of its structure. The order in which he summarizes chapters is out of sequence (2, 3, 4, 6, 8, 7, 9, 5); I find this interesting because order in which chapters are organized makes logical sense in terms of Moore's reasonably strict distinction between analysis and interpretation (7). To use Moore's vocabulary, Chapters 2-6 make up Means half of book (analysis), and Chapters 7-10 comprise How section (interpretation).[4] For Moore, is particular amalgamation of lyrics, harmonic progression, metric structure, and melody. A is different in that it is collection of details (instrumentation, tone, tempo, style) regarding execution or delivery of in general. A is specific or recording of particular song. If we think of these three in terms of Venn diagram, song and performance would be independent circles and track would be section of overlap between two. Moore compares four versions of Along Watchtower in Chapter 1-Bob Dylan's original, as well as covers by Jimi Hendrix, U2, and Richie Havens-in order to illustrate clearly what is and it is different conceptually from and track. All four versions share approximately same melody, lyrics, chord structure, and metrical organization. This is we know we are listening to Along Watchtower. The details, however, vary from to track. Each delivers differently, using unique combinations of vocal timbre, guitar tone, tempo, and instrumentation.[5] The explicit definition of song and its differentiation from performance and track is one of book's key theoretical takeaways. Based on Moore's criteria, song takes on much broader meaning: It becomes general conceptual framework of musical ideas involving singer and lyrics instead of merely specific collection of notes and words in particular context. This definition of song generalizes it by taking out considerations of performer, genre, and style. This provides less specific analytical starting point, which thereby affords listener better opportunity to focus on process of listening instead of only eventual interpretive outcome. …
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