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The Pop Palimpsest: Intertextuality in Recorded Popular Music
Lori Burns and Serge Lacasse, Editors
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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.
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Cover
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Title
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Copyright
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Contents
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Foreword: The Intertextual Network
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Introduction
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Section I. Transtextualities
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1. Toward a Model of Transphonography
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2. Genettean Hypertextuality as Applied to the Music of Genesis
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Section II. Intertextual Analyses
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3. The Bitter Taste of Praise
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4. The Electric Light Orchestra and the Anxiety of the Beatles’ Influence
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5. “If You’re Gonna Have a Hit”
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6. Someone and Someone
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7. Intertextuality in the Nineteenth-Century French Vaudeville
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Section III. Intermedial Subjectivities
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8. Rap Gods and Monsters
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9. Performative Strategies and Musical Markers in the Eurythmics’ “I Need a Man”
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Section IV. Intertextual Productions
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10. Timbre as Text
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11. Intertextuality and Lineage in The Game’s “We Ain’t” and Kendrick Lamar’s “m.A.A.d. City”
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12. Mix Tapes, Memory, and Nostalgia
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List of Contributors
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Index
Citable Link
Published: 2018
Publisher: University of Michigan Press
- 978-0-472-13067-2 (hardcover)
- 978-0-472-12351-3 (ebook)