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Sounds on Recordings, Notes on Paper...

Hallenbeck, Alexander James.

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Sounds on Recordings, Notes on Paper: Transcribing Popular Music in the Rock Era.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sounds on Recordings, Notes on Paper: Transcribing Popular Music in the Rock Era./
Author:	Hallenbeck, Alexander James.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	313 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
Contained By:	Dissertations Abstracts International85-04A.
Subject:	Music history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30689150
ISBN:	9798380588744

Sounds on Recordings, Notes on Paper: Transcribing Popular Music in the Rock Era.
Hallenbeck, Alexander James.

Sounds on Recordings, Notes on Paper: Transcribing Popular Music in the Rock Era. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 313 p.

Source: Dissertations Abstracts International, Volume: 85-04, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2023.

Though popular music in the twentieth century was often disseminated aurally through recordings, transcribers have reified these sounds into musical notation to aid in analysis and re-performance. Today, musicians use myriad types of transcriptions-online tabs, lead sheets, and note-for-note sheet music-to help them understand and learn their favorite songs. This dissertation narrates the emergence of these transcriptions among different genres during the Rock Era, a period stretching from the late 1950s through the late 1970s. Detailed transcriptions were far less common then than now: some were created to secure copyright protection, while others helped musicians gain competency in a certain performance style. By the 1980s, however, many transcriptions started being published as exquisitely crafted musical works that could stand{A0}in for their model-the recording. I argue that these documents are most often influenced by classical music aesthetics, as transcribers borrow from this tradition to legitimize popular music at a time when it remained outside the purview of the musical academy.In Chapter 1, I explore the ontology of musical transcriptions, focusing particularly on the relationship between transcriptions and musical works in the genres I study in subsequent chapters: jazz, the blues, and rock. Chapter 2 studies Gunther Schuller's transcriptions of Ornette Coleman's free jazz; one example translates Coleman's improvisation into a "coherent" musical artifact, elevating him to Western art music standards and problematically occluding other musical inheritances. Chapter 3 provides an overview of the different varieties of guitar transcriptions in this era; I profile key blues guitar pedagogues and transcribers, Happy Trauma and Stefan Grossman, and then scrutinize various publications of Jimi Hendrix's guitar music. I examine The Frank Zappa Guitar Book in Chapter 4, a collection of exceptionally detailed (and overly complex) transcriptions of Zappa's guitar improvisations undertaken by young Steve Vai that serve to impart a sheen of legitimacy on Zappa's music, aligning his improvised compositions with his written ones. My conclusion explains the proliferation of note-for-note transcriptions at the end of the 1980s, a trend that stems from the popularity of neoclassical metal and the emerging treatment of canonic rock music as "generational objects.".

ISBN: 9798380588744Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Guitar pedagogy

Sounds on Recordings, Notes on Paper: Transcribing Popular Music in the Rock Era.
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