2016 | 4(31) | 136-164
Article title

Co począć z Beatlesami? Metodologia muzykologii wobec muzyki rockowej

Title variants
What shall we do with The Beatles? Methodology of musicology and rock music
Languages of publication
The article presents the possible input of musicologists in terms of popular music studies. It describes basic differences between rock and classical music, being still in the centre of attention of traditional musicology, and underlines the necessity of analysing musical recordings instead of relying on score music. New terminology is proposed – both original and based on Western scholars’ experiences – especially relating to formal structure. The author also analyses different approaches to rhythmics (advocating that scholar himself needs to divide a song into bars), harmonics and melodics (presenting popular models), and instrumentation (underlining the importance of sound processing methods).
Physical description
  • Uniwersytet Jagielloński w Krakowie
  • Opracowania: Castaldo G., Ziemia obiecana. Kultura rocka 1954–1994, tłum. J. Uszyński, Krakow 1997.
  • Covach J., From Craft to Art. Formal Structure in the Music of the Beatles, [w:] Reading the Beatles. Cultural Studies, Literary Criticism, and the Fab Four, red. K. Womack, T.F. Davis, Albany 2006, s. 37–53.
  • Covach J., What’s That Sound. An Introduction to Rock and Its History, New York–London 2009.
  • Cutler C., O muzyce popularnej, tłum. i oprac. I. Socha, Krakow 1999.
  • Frith S., Sceniczne rytuały. O wartości muzyki popularnej, tłum. M. Krol, Krakow 2011.
  • Hatch D., Millward S., From Blues to Rock. An Analytic History of Pop Music, Worcester 1987.
  • Kasperski J., Tożsamość muzykologii w perspektywie badań nad muzyką popularną, [w:] Kultura popularna w społeczeństwie wspołczesnym. Teoria i rzeczywistość, red. J. Drozdowicz, M. Bernasiewicz, Krakow 2010, s. 265–273.
  • Middleton R., Popular Music Analysis and Musicology. Bridging the Gap, „Popular Music” 12 (1993), s. 177–190.
  • Middleton R., Studying Popular Music, Philadelphia 1990.
  • Moore A.F., Analyzing Popular Music, Cambridge 2008.
  • Moore A.F., Rock. The Primary Text, Ashgate 2001.
  • Negus K., Popular Music in Theory. An Introduction, Cambridge 1999.
  • Piotrowski G., Zrozumieć krzyk. W stronę muzykologii rocka, [w:] A po co nam rock? Między duszą a ciałem, red. W. J. Burszta, M. Rychlewski, Warszawa 2003, s. 39–64.
  • Schoenberg A., Fundamentals of Musical Composition, London–Boston 1970.
  • Shuker R., Popular Music. The Key Concepts, Oxon–New York 2006.
  • Shuker R., Understanding Popular Music, London–New York 1994.
  • Tagg P., Analysing Popular Music. Theory, Method and Practice, „Popular Music” 2 (1982), s. 37–67.
  • Siwak W., Estetyka rocka, Warszawa 1993.
  • Williamson N., The Rough Guide to the Blues, London 2007.
  • Źródła muzyczne: The Beach Boys, Good Vibrations, muz. i tekst B. Wilson/M. Love, Capitol 1966.
  • The Beach Boys, Surfin’ Safari., muz. i tekst B. Wilson/M. Love, Capitol 1962.
  • The Beatles, Being for the Benefit of Mr. Kite!, muz. i tekst J. Lennon/P. McCartney, Parlophone 1967.
  • The Beatles, Happiness Is a Warm Gun, muz. i tekst J. Lennon/P. McCartney, Apple 1968.
  • The Beatles, Hey Bulldog, muz. i tekst J. Lennon/P. McCartney, Apple 1969.
  • The Beatles, Revolution 9, muz. i tekst J. Lennon/P. McCartney, Apple Records 1968.
  • The Beatles, She Loves You, muz. i tekst J. Lennon/P. McCartney, Parlophone 1963.
  • The Beatles, Strawberry Fields Forever, muz. i tekst J. Lennon/P. McCartney, Parlophone 1967.
  • The Beatles, Think for Yourself, muz. i tekst G. Harrison, Parlophone 1965.
  • Chuck Berry, Johnny B. Goode, muz. i tekst Ch. Berry, Chess 1958.
  • Chuck Berry, Rock and Roll Music, muz. i tekst Ch. Berry, Chess 1957.
  • The Crazy World of Arthur Brown, Fire, muz. i tekst A. Brown/V. Crane/M. Finesilver/P. Ker, Track 1968.
  • Cream, Toad, muz. G. Baker, Polydor 1966.
  • Creedence Clearwater Revival, Proud Mary, muz. i tekst J. Fogerty, Fantasy 1969.
  • The Doors, Riders on the Storm, muz. i tekst J. Morrison/R. Krieger/R. Manzarek/J. Densmore, Elektra 1971.
  • The Doors, Strange Days, muz. i tekst J. Morrison/R. Manzarek/R. Krieger/J. Densmore, Elektra 1967.
  • Fats Domino, Blueberry Hill, muz. i tekst V. Rose/L. Stock/A. Lewis, Imperial Records 1956.
  • The Isley Brothers, Shout, muz. i tekst O. Isley/R. Isley/R. Isley, RCA 1959.
  • Jethro Tull, Living in the Past, muz. i tekst I. Anderson, Island Records 1969.
  • Louis Jordan & His Tympany Five, Caldonia, muz. i tekst F. Moore,Decca 1945.
  • The Jimi Hendrix Experience, Hey Joe, muz. i tekst B. Roberts, Polydor 1966.
  • Ben E. King, Stand by Me, muz. i tekst B.E. King/J. Leiber/M. Stoller, Atco 1961.
  • King Crimson, 21st Century Schizoid Man, muz. i tekst P. Sinfield, Island 1969.
  • Led Zeppelin, Moby Dick, muz. J. Bonham/J.P. Jones/J. Page, Atlantic 1969.
  • Ramones, Blitzkrieg Bop, muz. i tekst T. Ramone/D.D. Ramone, Sire/ABC 1976.
  • The Rolling Stones, Paint It Black, muz. i tekst M. Jagger/K. Richards, Decca 1966.
  • The Spencer Davis Group, Gimme Some Lovin’, muz. i tekst S. Windwood/S. Davis/M. Windwood, Fontana 1966.
  • Muddy Waters, Got My Mojo Working, muz. i tekst P. Foster, Chess Records 1956.
  • Muddy Waters, Hoochie Coochie Man, muz. i tekst W. Dixon, Chess Records 1954.
  • The Who, Baba O’Rile, muz. i tekst P. Townshend, Polydor 1971.
  • The Who, My Generation, muz. i tekst P. Townshend, Brunswick 1965.
  • The Who, Pictures of Lily, muz. i tekst P. Townshend, Track 1967.
  • Howlin’ Wolf, Somebody in My Home, muz. i tekst Ch.A. Burnett, Chess Records 1959.
  • Hank Williams, Hey, Good Lookin’, muz. i tekst C. Porter, MGM 1951.
Document Type
Publication order reference
YADDA identifier
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