Hostname: page-component-848d4c4894-mwx4w Total loading time: 0 Render date: 2024-07-04T13:50:01.892Z Has data issue: false hasContentIssue false

Allan F. Moore, Song Means: Analysing and Interpreting Recorded Popular Song (Farnham: Ashgate, 2012, ISBN 978-1-4094-2864-0 (hb), 978-1-4094-3802-1 (pb).

Published online by Cambridge University Press:  16 May 2014

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Reviews
Copyright
Copyright © Cambridge University Press 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Moore, Allan F., Rock: The Primary Text (Buckingham: Open University Press, 1993)Google Scholar.

2 Johnson, Mark, The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason (Chicago: Chicago University Press, 1987)Google Scholar; Gibson, James J., The Senses Considered as Perceptual Systems (Boston: Houghton Mifflin, 1966)Google Scholar and The Ecological Approach to Visual Perception (London: Lawrence Erlbaum, 1979); Clarke, Eric, Ways of Listening (Oxford: Oxford University Press, 2005)CrossRefGoogle Scholar.

3 Moore, Allan F., Aqualung (New York: Continuum, 2004)CrossRefGoogle Scholar.

4 Supplementary reading to the chapter on form, for instance, could be drawn from work by Walter Everett, John Covach, Nicole Biamonte, Mark Spicer, Jocelyn Neal, Christopher Doll, David Temperley, Tim Hughes, Mark Butler, Ken Stephenson, Brad Osborn, Christopher Endrinal, Trevor de Clercq, Drew Nobile, Jay Summach, and Moore himself.

5 Stephenson, Ken, What to Listen for in Rock: A Stylistic Analysis (New Haven: Yale University Press, 2002)CrossRefGoogle Scholar.