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Systematic Musicology: Empirical and Theoretical Studies


Edited By Albrecht Schneider and Arne von Ruschkowski

This volume contains articles most of which present empirical studies in the field of systematic musicology. Contributions in particular deal with aspects of melody including modeling and computer-assisted analysis as well as with various issues in sound and music perception, musical acoustics and psychoacoustics. Topics range from loudness perception in ‘Techno’ music to sound radiation in classical singing styles, and from timbre research to wave field synthesis and room acoustics. One focus of this volume is on pop and rock music, another is on ethno and folk music. In addition to empirical investigations, theoretical and methodological issues are addressed including some fundamental concepts in ethnomusicology and folk music scholarship.


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Till Strauf: “You Don´t See the Stitching“ – Some Comments on Stylistic Diversity in Rock. Using the Example of Jethro Tull


211 Till Strauf “You Don´t See the Stitching“ – Some Comments on Stylistic Diversity in Rock Using the Example of Jethro Tull Summary This paper is based on my Master´s thesis (2010), which deals with stylistic devices and influences in the music of British Rock band Jethro Tull. The group serves as a good example for the popular music of the 1970s and 1980s in displaying a wide diversity of musical styles in their output that is difficult to allocate to a single genre. Since its for- mation as a Blues band in the heyday of the Psychedelic era, the group subsequently went through different stylistic phases blending mainly Hardrock, British Folk, Jazz and elements of Art music. While this could be cited common practice in the sphere of Pro- gressive Rock, Jethro Tull are more distinctive for putting a focus on certain musical styles on different records in order to form an entity of lyrics, music and image that can be easily varied on subsequent records or songs. The following examination of Minstrel in the Gallery (1975) and Velvet Green (1977) should reveal certain musical influences and how they are embodied into a framework of musical intertextuality referring to a musical past, whereas the later song Budapest (1987) could be seen as an example of a less conceptionally-driven fusion of different styles the group showcased in the late 1980s. 1. Introduction Since the mid-1990s there has been a growing interest in the musical and sociological impact of British...

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