“And I shall never not return” Philip Tagg, Liverpool, and the Paris Connection

Auteurs

Mots-clés :

Philip Tagg, popular music studies, musiques populaires, França

Résumé

“A Diretoria da IASPM está triste ao saber do falecimento do membro fundador da IASPM e pioneiro dos estudos de música popular, Philip Tagg”. Desde que a notícia foi divulgada, em 9 de maio de 2024, muitos de nós insistimos no fato de Philip ter defendido o estudo da música popular no meio acadêmico, ter lançado as bases para essa meta-disciplina como a conhecemos hoje e ter contribuído para trazer a musicologia para o primeiro plano. Este breve artigo presta uma homenagem a ele e compartilha memórias pessoais, relembrando seu papel no estabelecimento de estudos de música popular na França na virada dos anos 2000.

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Biographie de l'auteur

Olivier Julien, Sorbonne Université

Olivier Julien is associate professor at Sorbonne Université, where he teaches the history and musicology of popular music. A member of Volume! La revue des musiques populaires’, Vox Popular’s and the Cahiers de la SQRM’s editorial and advisory boards, he is the editor of Sgt. Pepper and the Beatles: It Was Forty Years Ago Today (Ashgate/Routledge, 2009 ARSC Award for Best Research in Recorded Rock and Popular Music), Over and Over: Exploring Repetition in Popular Music (Bloomsbury—with Christophe Levaux), and Serge Gainsbourg: An International Perspective (Bloomsbury—with Olivier Bourderionnet).

Références

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Davies, Hunter. 1968. The Beatles: The Authorized Bioography. London: Heinemann.

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Dowlding, William J. 1989. Beatlesongs. New York: Simon & Schuster.

Fabbri, Franco. 2010. “Genre and Myth: How the ‘cantautori’ were born.” Presentation at the JCMP Research Seminar, Paris-Sorbonne University, November 6.

Hamm, Charles. 1982. “Some Thoughts on the Measurement of Popularity in Music.” In Popular Music Perspectives: Papers from the First International Conference on Popular Music Research, Amsterdam, June 1981, edited by Philip Tagg and David Horn, 3–15. Göteborg and Exeter: IASPM.

Jones, Steve. 1992. Rock Formation: Music, Technology, and Mass Communication. Newbury Park, London and New Delhi: SAGE Publications.

Julien, Olivier. 1993. “The Beatles, Revolver. Du blues à la pop music.” MA thesis, Université de Paris-Sorbonne, Paris IV (UFR Musique et musicologie).

Julien, Olivier. 1998. “Le son Beatles.” PhD thesis, Université de Paris-Sorbonne, Paris IV (UFR Musique et musicologie).

Lacasse, Serge. 2000. “The evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression.” PhD thesis, The University of Liverpool (IPM).

Lewisohn, Mark. 1990. The Beatles Recording Sessions. New York: Harmony Books.

Martin, George, ed. 1983. Making Music: The Guide to Writing, Performing & Recording. New York: Quill.

Martin, George, with Jeremy Hornsby. 1979. All You Need Is Ears. New York: St Martin’s Press.

Martin, George, with William Pearson. 1994. Summer of Love: The Making of Sgt. Pepper. London: Macmillan.

Mellers, Wilfrid. 1973. Twilight of the Gods: The Beatles in Retrospect. London: Faber and Faber.

Middleton, Richard. 1981. “Folk or Popular? Distinctions, Influences, Continuities.” Popular Music 1: 3–7.

Middleton, Richard. 1990. Studying Popular Music. Buckingham: Open University Press.

Middleton, Richard, and David Horn. 1981. “Preface.” Popular Music 1: 1–2.

Moore, Allan F. 1993. Rock: The Primary Text. Developing a Musicology or Rock. Buckingham: Open University Press.

Norman, Philip. 1981. Shout! The True Story of the Beatles. London: Penguin Books.

Riley, Tim. 1989. Tell Me Why. The Beatles: Album by Album, Song by Song, The Sixties and After. New York: Vintage Books.

Tagg, Philip. 1979. “Kojak – 50 seconds of Television Music: Towards the Analysis of Affect in Popular Music.” PhD thesis, Göteborgs Universitet (Musikvetenskapliga Institutionen).

Tagg, Philip. 1982. “Analysing Popular Music: Theory, Method and Practice.” Popular Music 2: 37–68.

Tagg, Philip. 1985. “La musicologie et la sémantique de la musique populaire.” Analytica 47: 77–95.

Tagg, Philip. 1992. “Towards a Sign Typology of Music.” In Secondo convegno europeo di analisi musicale, edited by Rossana Dalmonte and Mario Baroni, 369–78. Trento: Università degli studi di Trento.

Tagg, Philip. 1998. “The Göteborg Connection: Lessons in the History and Politics of Popular Music Education and Research.” Popular Music 17, no. 2: 219–42.

Tagg, Philip. 2014. “Scotch Snaps: The Big Picture.” Presentation at the JCMP Research Seminar, Paris-Sorbonne University, April 5.

Tagg, Philip, and Bob Clarida. 2003. Ten Little Tunes. New York and Montreal: Mass Media Music Scholar’s Press.

Tamlyn, Gary. 1998. “The Big Beat: Origins and Development of Snare Backbeat and other Accompanimental Rhythms in Rock ’n’ Roll.” PhD thesis, The University of Liverpool (IPM).

Whiteley, Sheila. 1992. The Space Between the Notes: Rock and the Counter-Culture. London and New York: Routledge.

Publiée

2024-12-31

Comment citer

JULIEN, Olivier. “And I shall never not return” Philip Tagg, Liverpool, and the Paris Connection. MusiMid: Revista Brasileira de Estudos em Música e Mídia, [S. l.], v. 5, n. 2, p. 93–101, 2024. Disponível em: https://revistamusimid.com.br/index.php/MusiMid/article/view/230. Acesso em: 18 janv. 2025.

Numéro

Rubrique

Dossiê Philip Tagg: Por uma musicologia expandida: da musemática ao edutenimento