<div dir="ltr"><div class="gmail_default"><span style="font-family:'times new roman',serif;font-size:13.333333969116211px">Hi list,</span></div><div class="gmail_default"><span style="font-family:'times new roman',serif;font-size:13.333333969116211px"><br>
</span></div><div class="gmail_default"><span style="font-family:'times new roman',serif;font-size:13.333333969116211px">I read the article and I took issue with the author's claims that syncopation is just a tension-building device in the verse. I think the syncopation is representative of Katy's introspective day-dreaming about past events in her relationship that led her to make a decision about taking it to the next level. Shifting to prosody that is less syncopated is a commentary on her decision-making process; when she has decided to "go all the way tonight," the ALL is a euphemism for the activities of that particular evening, and it's on a solid downbeat. As the song goes on, her resolve strengthens, and by the bridge, sex is imminent. There's no separation between the text and the pulse of the song, just like there's no separation between his hands and her jeans. We've reached the present, the physical, and are no longer in Katy Perry's dreamspace. We've reached her reality.</span></div>
<div class="gmail_default"><font face="times new roman, serif"><br></font></div><div class="gmail_default"><font face="times new roman, serif">Heather</font></div></div><div class="gmail_extra"><br><br><div class="gmail_quote">
On Thu, Mar 27, 2014 at 12:19 PM, Stephen Rodgers <span dir="ltr"><<a href="mailto:ser@uoregon.edu" target="_blank">ser@uoregon.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div style="word-wrap:break-word">Great points, Rick. (Should I admit how much this song has been running through my head the past few days, when I should be doing other, more important things?) <div><br></div><div>Related to your first point about the migrating downbeat, it's also interesting that in the verse the words <i>never</i> fall on a downbeat (if we think of the words "you think I'm pretty without any make-up" as fitting into one 4/4 measure), in the pre-chorus they fall on <i>every other </i>downbeat ("let's go ALL the way tonight, no regrets, just love, we can DANCE until we die"...), and in the chorus they fall on <i>every</i> downbeat ("YOU make me feel like I'm livin' a TEEN-age dream..." etc.). Maybe that's partly what creates the "feeling of suspension" (and also of resolution).<div>
<br></div><div>Okay... back to the 19th century I go...</div><div><br></div><div>Steve<span class="HOEnZb"><font color="#888888"><br><div><br></div><div><br></div></font></span></div><span class="HOEnZb"><font color="#888888"><span style="font-size:12px"><div>
<br></div>Stephen Rodgers</span><br><div><span style="border-collapse:separate;border-spacing:0px"><div>Associate Professor of Music Theory and Musicianship</div><div>School of Music and Dance</div><div>1225 University of Oregon</div>
<div>Eugene, OR 97403-1225</div><div><a href="tel:541-346-5589" value="+15413465589" target="_blank">541-346-5589</a></div><br></span></div></font></span></div><div><div class="h5"><div><div>On Mar 27, 2014, at 7:24 AM, Richard Cohn <<a href="mailto:richard.cohn@yale.edu" target="_blank">richard.cohn@yale.edu</a>> wrote:</div>
<br><blockquote type="cite"><div dir="ltr"><div>There's been a lot of circulation on the web about Owen Pallett's analysis of Katy Perry's Teenage Dream. I listened to the song, and two things struck me about it, both conforming to my current obsessions, and neither having to do with harmony:<br>
<br></div><div>1. In the succession from verse to pre-chorus to chorus, the location of the downbeat migrates with respect to the line of text. In the verse, the downbeat sounds at the end of the line (without any makeup ON); in the pre-chorus, the downbeat migrates near to the beginning (let's go ALL the way); in the chorus, the downbeat occurs at the beginning of the line (YOU make me). <br>
<br></div><div>This is easy enough to identify once someone points it out, and you don't need fancy technical overhead to communicate it. Although if you want to dress this up fancy you can say that there's a progression from Anbetonte to Inbetonte to Abetonte (Riemann's categories). <br>
<br></div><div>And this sort of transformation of grouping with respect to meter across major formal boundaries is absolutely characteristic of American popular music over a number of decades. I haven't seen this written about anywhere; has anyone else? (If not, and you're looking to do some research on popular music, take it and run, it's a wide-open field out there.) <br>
</div><div><br></div><div>2. Pallett talks about the rhythm of the chorus in terms of "syncopation," a term that is a mile wide and an inch deep. We can be much more precise about what kinds of syncopation it is: it is one of Jeff Pressing's prime generated rhythms, 3 + 3 + 3 + 3 + 4. This rhythm is ubiquitous in Afro-diasporic traditions, which includes American pop. It's a sure way to make any pitch material sound funky.<br>
<br></div><div>Now "prime-generated" does sound music-theory-technical enough to alienate a pop-music anti-snob. Fortunately, though, the mathematics it uses does not require a higher education; an attentive 10-year-old knows that 3 does not divide 16, and so there's got to be some left over if you add by 3's and want to stop at 16. <br>
<br>If anyone's interested, I theorize rhythms of this genus in a web-posted lecture, "A Platonic Theory of Funky Rhythms, or How to Get that Swing" with examples from Scott Joplin, Duke Ellington, James Brown, Baden Powell, and the Sherman brothers (Disney's Jungle Book). <br>
<br><a href="http://music.sydney.edu.au/research/research-activities/alfred-hook-lecture-series/" target="_blank">http://music.sydney.edu.au/research/research-activities/alfred-hook-lecture-series/</a><br><br>The first 20 minutes lay an abstract and historical background; the rhythmic model and examples start around 20 minutes in. <br>
<br><br></div><div>--Rick Cohn <br></div></div><div class="gmail_extra"><br><br><div class="gmail_quote">On Wed, Mar 26, 2014 at 3:11 PM, <span dir="ltr"><<a href="mailto:smt-talk-request@lists.societymusictheory.org" target="_blank">smt-talk-request@lists.societymusictheory.org</a>></span> wrote:<br>
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1. Re: music theory on slate (Andrew Schartmann)<br>
2. Re: music theory on slate (<a href="mailto:johnrcovach@gmail.com" target="_blank">johnrcovach@gmail.com</a>)<br>
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Message: 1<br>
Date: Tue, 25 Mar 2014 15:42:19 -0400<br>
From: Andrew Schartmann <<a href="mailto:andrew.schartmann@yale.edu" target="_blank">andrew.schartmann@yale.edu</a>><br>
To: <a href="mailto:smt-talk@lists.societymusictheory.org" target="_blank">smt-talk@lists.societymusictheory.org</a><br>
Subject: Re: [Smt-talk] music theory on slate<br>
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For anyone interested, here is the article that inspired Pallet to write a<br>
theory-based analysis of a Katy Perry song:<br>
<a href="http://www.thedailybeast.com/articles/2014/03/18/music-criticism-has-degenerated-into-lifestyle-reporting.html" target="_blank">http://www.thedailybeast.com/articles/2014/03/18/music-criticism-has-degenerated-into-lifestyle-reporting.html</a>.<br>
Needless to say, Gioia's article generated quite a controversy online.<br>
<br>
Also, I'm pretty sure Pallet's title ("Explaining the genius of Katy<br>
Perry's 'Teenage Dream'--using music theory") is meant to be facetious.<br>
<br>
Andrew Schartmann<br>
Graduate Student<br>
Yale University<br>
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Date: Tue, 25 Mar 2014 23:33:53 -0400<br>
From: <a href="mailto:johnrcovach@gmail.com" target="_blank">johnrcovach@gmail.com</a><br>
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Subject: Re: [Smt-talk] music theory on slate<br>
Message-ID: <<a href="mailto:E2AFA75B-3EDF-459C-B8E9-99D56DB6DB1C@gmail.com" target="_blank">E2AFA75B-3EDF-459C-B8E9-99D56DB6DB1C@gmail.com</a>><br>
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I have to admit that when I first read Ted's essay online I had to wonder what was new about these observations. I mean, a magazine like Rolling Stone has always been a lifestyle magazine. What we do and what they do are very different things.<br>
<br>
John Covach<br>
University of Rochester<br>
<br>
Sent from my iPad<br>
<br>
> On Mar 25, 2014, at 3:42 PM, Andrew Schartmann <<a href="mailto:andrew.schartmann@yale.edu" target="_blank">andrew.schartmann@yale.edu</a>> wrote:<br>
><br>
> For anyone interested, here is the article that inspired Pallet to write a theory-based analysis of a Katy Perry song: <a href="http://www.thedailybeast.com/articles/2014/03/18/music-criticism-has-degenerated-into-lifestyle-reporting.html" target="_blank">http://www.thedailybeast.com/articles/2014/03/18/music-criticism-has-degenerated-into-lifestyle-reporting.html</a>. Needless to say, Gioia's article generated quite a controversy online.<br>
><br>
> Also, I'm pretty sure Pallet's title ("Explaining the genius of Katy Perry's 'Teenage Dream'?using music theory") is meant to be facetious.<br>
><br>
> Andrew Schartmann<br>
> Graduate Student<br>
> Yale University<br>
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<br></blockquote></div><br><br clear="all"><div><br></div>-- <br>HEATHER HOLMQUEST<br>Ph.D. Student in Music Theory<br>Graduate Teaching Fellow in Humanities<br>University of Oregon<br>Phone: (309) 368-2174<br><a href="mailto:hholmque@uoregon.edu" target="_blank">hholmque@uoregon.edu</a>
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