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Explanations Tagg: Music’s Meanings— Index 653 Index Explanations CONTENTS. This index contains: [1] proper names occurring in the main text and in the footnotes; [2] principal topics in main text and footnotes; [3] selected technical and theoretical terms; [4] other terms marked for indexing on at least three separate pages. The acknowledgements and reference appendix have not been indexed for this book. To find items not included in this index please use the e‐book version (PDF), obtainable via tagg.org/mmmsp/NonMusoInfo.htm. SYMBOLS. q = See another main entry; ! = See subentry under another main entry; = See also another main entry or other entries; ˆ = in relation to or as opposed to. Note that main entries referred to are always in THIS FONT, subentries in this font. EXAMPLES. [1] ‘q GUITAR’ under ACOUSTIC means See under GUITAR for page numbers relating to ACOUSTIC GUITAR. [2] ‘q MODE!maqām’ under ARAB means See the subentry MAQĀM un‐ der the main index entry MODE to find the pages where the modes of Arab music are men‐ tioned. [3] To find more page references to topics relating to ACCOMPANIMENT, See also un‐ der BACKGROUND (‘ BACKGROUND’). [4] The subentry ‘ˆ female’ under the main entry MALE means that the two concepts MALE and FEMALE are considered in relation to each other (on pp. 18, 86, 357, etc.) rather than separately. [5] ‘ˆ male q MALE ˆ FE‐ MALE’ under FEMALE means See the subentry ‘ˆ FEMALE’ under MALE for the same page references (pp. 18, 86, 357, etc.). ABBREVIATIONS. def. = definition; mus. = music[al]; repres. = representation ____________________________________ Numbers Abba 103, 127, 176, 199, 245, dynamic 292 007 qJAMES BOND 246, 259, 287, 365, 385, 386– metric, tonic 293 12‐bar qBLUES 393, 397, 401, 414, 415, 478, accompaniment 265, 335, 1900 (film) 495 516, 519, 522, 526, 527 426, 440 BACKGROUND, 1984 (Bowie) 341 Fernando 476‐7, 479–482 MELODY‐ACCOMPANIMENT 2001 (film) 93, 269, 555 Abo, Klevor 459 accompanimental music q 32‐bar qJAZZ!jazz standard Aboriginal AUSTRALIA (Hegel) 89 4:33 (Cage) 406 absolute/absolutist accordion/accordéon 306 78 rpm audio discs 536, 537 defined 91–94 musette 163, 526, 547 music 4, 12, 89–115, 133, Accra 461 8‐bar qPERIOD 147–148, 154 acoustic AURAL STAGING A postmodernist 101–115 distance 347, 444 a cappella 579 AC/DC 295, 440, 464, 465, environment AABA 388, 392, 395, 396, accelerando 291 qSOUNDSCAPE 397–401, 404, 414 accent[uation] 367 qGUITAR abandon 49, 209, 264, 380, 492 agogic 293 horizon 439 654 Tagg: Music’s Meanings instruments 188, 277, 513 India 87 Aldeburgh Festival 12 recording 134, 536 intensional 107, 412, 589 aleatoric 404, 579 qSPACE ˆ extensional 272 Alfvén, Hugo 245 acoustics 47, 48, 61, 119, 192, of failure 445 alienation 95, 100, 130, 133, 269, 277, 366, 375, 436, 469 opinion confused with 171, 183, 188, 210, 365, 405, acrobatic 380 scholarship 142 437, 596 Across the Plains 79 postmodernist 101–115 All Along The Watchtower Adagio for Strings 407 recording 370 341 Adams, Bryan 380 relative 135, 136 All Together Now 342, 413 adaptive music 533, 534 rock 183, 300, 409, 437, allemande 412 Adorno Theodor W 97, 105, 444, 445 Allende, Salvador 388 authenticity 141 107, 139–143, 469 allrovi.com 564 semiotic problems 148 ADSR qENVELOPE Allwood, Jens 49 use value 175 advert/ad/advertising/ad‐ alogogenic 84, 115, 120, 579 affect 72, 75‐76, 85, 209, 336 vertiser[s]/commercials Also sprach Zarathustra Baroque theory 94, 97 1, 2, 27, 35, 39, 60, 83, 93, 269, 389 gestural 319 99, 111, 112, 115, 138, 168, altiplano 388, 390 intervallic 324–325 184, 185, 192, 196, 212, 214, Altman, Rick 552 Africa 212, 321, 330 242, 267, 269, 270, 281, 307, Ambassadors (Holbein) 429 East 179 344, 354, 356, 359, 360, 362, Ambolley, Gyedu Blay 461 380, 382, 437, 438, 443, 489, notions of 467 Sub‐Saharan 70, 123, 294, American Beauty 359, 543 497, 498, 502, 507, 521, 529, Amethysts for Esmeralda 495 533, 574, 587, 590, 596 456–463, 597 Amos, Tori 450 Philishave 497–498 West 50, 295, 459, 489 Amours perdues, Les 373 RAC 438 African‐American 191, 320, amplification 299, 369, 370 TV 39, 93, 269 466, 467, 471, 481, 527, 597 Amtrak 362 voices in 359–360 Afro‐Caribbean 463 amygdala 68 aeolian qMODE!aeolian Agawu, Kofi 459 An die Musik 490 aerobics 442, 443 Agitato No. 3 544 anacrusis 293, 519, 520, 579 Aerosmith 413 Ahmad, Jamil 356 analysis aesthesic/aesthesis 305, 344, Ain’t No Mountain High classes 16–17 354, 391, 529, 579 Enough 476 competence 119, 119– Ain’t That A Shame? 476 music 5, 14, 15, 16, 91, 101, 106, 117, 119, 120, 120, 128, 197 Ainsley, John Mark 400 123, 148, 149, 154, 173, descriptors 300, 357–360 air focus 196–198 conditioning 434 195–261, 268, 529–578 narrative 3 ˆ poïetic 116, 118–120, qGUITAR object qAO 529 = tune 365 visual 117 aesthetic[s] Air (Bach) 413 anaphone 306, 308, 486 qABSOLUTE/ABSOLUTIST airborne (melody) 365 composite 509–514 Adorno 142, 469 airport[s] 35‐36, 212, 240, instrumental timbre 308– buzzwords 95 423, 549 313 qCANON[S] aksak 295 holokinetic 499–500, 589 China 86 Al Fārābi q FĀRĀBI kinetic 303, 486, 498–502, extensional 107, 272, 411, Ala, N et al. 35 412, 586 508–509, 513, 518‐519, alabaster busts 96 546, 590 ˆ intensional 272 Albert Hall 403 linguistic 489–491 Tagg: Music’s Meanings— Index 655 non vocal 488–489 AO (analysis object) 146, 391, 393, 408, 438, 441, 461, paralinguistic 492–494 200, 230–231, 580 469, 477, 521, 525, 528, 531, social 417, 419, 467–474, choice of 202, 203 535, 536, 541, 548, 550, 551, 514, 600 defined 230 554, 555, 597, 599, 601 sonic 27, 487–494, 498, aperiodic sound 275 Audio Bullys 356 547, 600 Appalachian 320, 330 Audiovisual Personality Cues spatial 486, 500–502 appoggiatura 389, 580 377 tactile 308, 486, 487, 494– appropriation of popular auditory cheesecake 62 498, 511, 546, 601 music by state power 103 Auf Flügeln des Gesänges 365 transscansion 489–490 Arab[‐ic/‐ian] Auld Lang Syne 317 vocal 489–494 hegemony 53 aural staging 122, 299–303, anaphora 580 q MODE ! maqām 381, 448, 473, 515, 536, 560, Andalucia q SPAIN heterophony 338, 452 581, 598 Anderson, Laurie 439, 446, metre 295 lateral position, panning, Andersson, Stig 415 music 425, 452, 519, 520 etc. 301‐302 Andes/Andean 187, 306, Western notions of frontal/retral 301‐302 307, 330, 388, 390, 477, 479‐ 176, 419, 520, 526 surround sound 301 481, 526‐527, 582, 596 nouba 593 vertical position 301, 303 Andrè, Fabrizio de 373 scholarship 52, 85, 88 Australia[n] 43 angel[s]/angelic 249, 341, tonality 321, 330, 332, Aboriginal 176, 526 357, 432, 573 334, 335, 526 Doors, The 382 harps 389 arbitrary sign qSEMIOTICS National Film and Anglo‐US 106, 351 ‘Are you talking to me?’ Sound Archive 552 angry/anger 9, 58, 67, 68, 73, 347–350 TV 381, 382 188, 281, 282, 344, 347, 351, aria 382 Austria 9, 89, 529 357, 359, 365, 440, 472, 598 da capo 400 and shampoo 167, 168, Angst 176, 177, 308, 357, 524 aristocracy qCLASS 169, 172, 189, 191, 208, anguish 427, 574 Aristotle 52 502, 506 ambitus 325 Armstrong, Jared 8 auteurcentrism 198 management 314 arpeggio 432, 580 authenticity 87, 106, 126, angular 259, 356, 501, 509, arrange[‐r/‐ment] 469, 540 131, 141, 480, 523 513, 552 Arrival of a Train at La Ciotat singer‐songwriter 374 anhemitonic 330, 331, 580, 535 authority 583 ‘arsehole art’ 99 BBC as voice of 361 animal music 54–58 Asafyev, Boris 46, 151, 439 authorship 198 animated film 540 Associated Board 10, 14 autobiography 6, 7–16 Anka, Paul 342 At Last 342 Auto‐Tune 374, 581 Antarctica 418, 419 Atkinson, Max 147 Autumn Leaves 397, 399 anthropology 5, 105, 119, atmos 581 avant‐garde 403, 404 133, 144, 364, 433, 441 atonal 276 Ave Maria 432, 474 anthropomorphism 55 attack q ENVELOPE Axt, William 537 anticipation audience 2, 38, 71, 72, 79, 86, film music 550 90, 91, 93, 94, 111, 112, 129, B Antigone 471 130, 139, 149, 178, 180, 182, babbling brook 308 antihero 438 192, 196, 198, 199, 200, 201, Ba‐Benzélé 466 antiphony 471, 580 204, 214, 245, 249, 267, 270, baby‐boomers 110 286, 303, 351, 362, 369, 390, Bach, J C 125 656 Tagg: Music’s Meanings Bach, J S 11, 96, 206, 245, 264, Bangles, The 382 BBC 35, 37, 103, 137, 311, 323, 338, 382, 406, 413, 447, bar (drink) 35, 36, 40, 211, 485 361, 366, 408, 474, 478, 512, 448, 449, 454, 455, 473, 488, bar (mus.) 122, 284–287, 513, 574 524, 525 293–296, 379–389, 518, 539, Beastie Boys 128, 297 Bach, P D Q 382, 456, 471 540, 581 beat 283, 288–294 Bacharach chords 340 12‐bar q BLUES biological functions 289 back catalogue 102 4‐bar 284, 285, 342, 518 bpm 284–285, 288–291, background 438 8‐bar 285, 342, 398, 404, 293, 294, 342, 398, 399, accompaniment 335, 337, 516 409, 458, 482, 518, 539, 426, 432, 433, 440, 461, bar line 599 540, 581 METRE, 462, 475, 481, 517, 585 edit 554 METRONOME, SPEED figures 208 Barber, Samuel 407 cross‐beat 457, 464 film 554 barbershop 467, 468, 522 downbeat 123, 289, 293, harmony 426 Barbie doll 351 295, 296, 554 music 35, 139, 199, 408 bard 51, 52, 53, 374 ACCENT sound/noise 59, 178, 236, Baroque edit 554 237, 270, 272, 300, 315, affect theory 94, 97 heartbeat 281 425, 434, 435 counterpoint 454, 457 offbeat 289 underscore 556, 561, 603 monody 425, 477 pulse 47, 48, 68, 273, 444, visual 168, 423, 429, 504 opera 299, 399 445, 458 Background Music for Home Barron, Anne 125, 126 skipping 287 Movies 495 Barsky, R F 108 subbeat 291, 293‐295, 458‐460, 463‐464, 600 backing 182, 426, 472, 474 Bartel, Dietrich 73, 94 tone beat 232 disco 527 Barthes, Roland 108 upbeat 293, 295 heavy metal 440 Bartók, Béla 10, 13, 67, 93, Beatles, The 11, 102, 135, 295, track 388, 389, 426, 444 134, 245, 246, 472, 483, 553 310, 342, 382, 388, 397, 400,
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