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</o:shapelayout></xml><![endif]--></head><body lang=EN-US link=blue vlink=purple><div class=WordSection1><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>I like that: “making the collective unconscious conscious.”<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>I remember my dissertation advisor, Alejandro Planchart, back in New Haven during the early seventies, telling us how he “gave dissonant counterpoint lessons” to Frank Zappa. I should ring him up and ask him to elaborate. It certainly makes sense; I can’t imagine how scores as “difficult” as Zappa’s could have been written by a completely intuitive, “unschooled” composer, untouched by academia and music theory.<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>However, when I was first introduced to the “art stream/pop stream” dichotomy during an undergraduate music class in the late sixties (bundled with an obvious value judgment), it didn’t sit well with me then, and it still doesn’t. Creativity is one thing; execution is something quite different.<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>Best,<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>Fred Bashour<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>Dufay Digital Music<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'>Leverett, MA 01054<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><div><div style='border:none;border-top:solid #B5C4DF 1.0pt;padding:3.0pt 0in 0in 0in'><p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'> Smt-talk [mailto:smt-talk-bounces@lists.societymusictheory.org] <b>On Behalf Of </b>Donna Doyle<br><b>Sent:</b> Thursday, December 11, 2014 8:45 AM<br><b>To:</b> CARSON FARLEY<br><b>Cc:</b> smt-talk@lists.societymusictheory.org<br><b>Subject:</b> Re: [Smt-talk] Pop Music And Theory<o:p></o:p></span></p></div></div><p class=MsoNormal><o:p> </o:p></p><div><p class=MsoNormal>Dear all,<o:p></o:p></p></div><div><p class=MsoNormal><o:p> </o:p></p></div><div><p class=MsoNormal>It helps to remember that the brains behind Michael Jackson was Quincy Jones, who studied with Nadia Boulanger. It also helps to remember that periodic phrase structure has been around since King David sang the Psalms and monks in the 13th c wrote reams of rhyming poetry. Let's call "intuition" by its right name--the collective unconscious. Making it conscious is academia's job. Thanks be to God : )<o:p></o:p></p></div><div><p class=MsoNormal><o:p> </o:p></p></div><div><p class=MsoNormal>Best regards,<o:p></o:p></p></div><div><p class=MsoNormal>Donna Doyle<o:p></o:p></p></div><div><p class=MsoNormal><o:p> </o:p></p></div><div><p class=MsoNormal>Aaron Copland School of Music<o:p></o:p></p></div><div><p class=MsoNormal>Queens College--CUNY<o:p></o:p></p></div><div><p class=MsoNormal>FLUSHING, NY 11367<o:p></o:p></p></div><div><p class=MsoNormal>718-997-3819<o:p></o:p></p></div><div><p class=MsoNormal style='margin-bottom:12.0pt'><br>On Dec 10, 2014, at 10:44 PM, CARSON FARLEY <<a href="mailto:ccfarley@embarqmail.com">ccfarley@embarqmail.com</a>> wrote:<o:p></o:p></p></div><blockquote style='margin-top:5.0pt;margin-bottom:5.0pt'><div><div><p class=MsoNormal style='mso-margin-top-alt:5.0pt;margin-right:.5in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt'><span style='color:black;background:white'>Is it possible that the relevance of Pop music relies more on an intuitive and aural tradition and that the attempt to analyse it and dissect it from a classical theoretical perspective misses the point entirely? </span> <o:p></o:p></p></div></div></blockquote><blockquote style='margin-top:5.0pt;margin-bottom:5.0pt'><div><p class=MsoNormal><o:p> </o:p></p></div></blockquote></div></body></html>