For millennia, philosophers and musicians have pondered how meaning can be represented in music. Rock music of the first ten years of the new millennium has included a great deal of experimental work that exercises a strong interest in expressive uses of tonal functions that may be interpreted as underscoring such themes in the songs' poetic texts as paralysis, temptation, the consideration of alternatives, and cultural dehumanization. This essay aims to suggest how such themes are represented in recordings by Missy Elliott, Randy Newman, Wilco, Amy Winehouse, the Flaming Lips and Bon Iver, with arguments contextualized by relevant theoretical writings.
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