Over and Over i ii Over and Over Exploring Repetition in Popular Music Edited by Olivier Julien and Christophe Levaux Bloomsbury Academic An imprint of Bloomsbury Publishing Inc NEW YORK • LONDON • OXFORD • NEW DELHI • SYDNEY iii Bloomsbury Academic An imprint of Bloomsbury Publishing Inc 1 385 Broadway 50 Bedford Square New York London NY 10018 WC 1B 3 DP USA UK www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2018 © Olivier Julien, Christophe Levaux, and contributors, 2018 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. Library of Congress Cataloging-i n-Publication Data Names: Julien, Olivier, 1969– | Levaux, Christophe, 1982– Title: Over and over: exploring repetition in popular music / edited by Olivier Julien and Christophe Levaux. Description: New York: Bloomsbury Academic, 2018. | Includes bibliographical r eferences and index. Identifi ers: LCCN 2017044825 (print) | LCCN 2017045128 (ebook) | ISBN 9781501324895 (ePDF) | ISBN 9781501324901 (ePub) | ISBN 9781501324888 (hardback: alk. paper) Subjects: LCSH: Repetition in music. | Popular music--Philosophy and aesthetics. Classifi cation: LCC ML3877 (ebook) | LCC ML3877. O92 2018 (print) | DDC 781.64/124--dc23 LC record available at https://lccn.loc.gov/2017044825 ISBN : H B : 978-1-5013-2488-8 ePub: 978-1-5013-2490-1 e PDF : 978-1-5013-2489-5 Cover design: Holly Bell Cover image © Miakievy/Getty images Typeset by Refi neCatch Limited, Bungay, Suffolk iv Contents List of Abbreviations and Contractions vii List of Musical Examples, Figures, and Tables viii Acknowledgments x List of Contributors xi Preface A ntoine Hennion xiv Introduction: Play It Again (and Again), Sam O livier Julien and Christophe Levaux 1 Part One: Repetition as an Aesthetic Disposition 11 1 When the Music Stutters: Notes Toward A Symptomatology R obert Fink 13 2 Time and Time Again: Repetition and Diff erence in Repetitive Music Anne Danielsen 37 3 Toward an Alternative History of Repetitive Audio Technologies Christophe Levaux 51 Part Two: Issues of Perception 65 4 Loops, Memories, and Meanings C hris Cutler 67 5 Machine Possession: Dancing to Repetitive Beats Hillegonda C. Rietveld 75 6 Repetition and Musical Meaning: Anaphonic Perspective in Connection with the Sonic Experience of Everyday Life Danick Trottier 89 Part Th ree: Repetition as a Structuring Device 105 7 From “Sectional Refrains” to Repeated Verses: Th e Rise of the AABA Form Olivier Julien 107 v vi Contents 8 Standard Jazz Harmony and the Constraints of Hypermeter: Some Th oughts on Regular and Irregular Repetition Keith Salley and Daniel T. Shanahan 123 9 A Psychological Perspective on Repetition in Popular Music T revor de Clercq and Elizabeth Hellmuth Margulis 147 References 163 Index 183 List of Abbreviations and Contractions a.k.a. also known as BC Before Christ bpm beats per minute CJA British Criminal Justice and Public Order Act DAW Digital Audio Workstation DSP Digital Signal Processing EDM electronic dance music GRM Groupe de Recherches Musicales HC hypermetric constraint m. measure MIDI Musical Instrument Digital Interface mm. measures No numero , number orig. original ORTF Offi ce de Radiodiff usion-Télévision Française TAZ Temporary Autonomous Zone(s) w/ with vii List of Musical Examples, Figures, and Tables Examples 7.1 “I Cover the Waterfront”’s “sectional refrain” 115 8.1a Normative two- bar cycle 124 8.1b Normative four- bar cycle 125 8.2a Common variations on the cycle: embellishment of a tonic’s sounding space 125 8.2b Common variations on the cycle: overlap of a two- bar cycle upon a purported four- bar cycle 125 8.2c Common variations on the cycle: extended tonic space in a two- bar cycle 125 8.2d Common variations on the cycle: interruption of a purported four- bar cycle by a two- bar cycle 125 8.3a Likely and unlikely settings of cycles: two- bar cycles and four- bar hypermeasures 127 8.3b Likely and unlikely settings of cycles: four- beat cycles and two- bar hypermeasures 127 8.3c Likely and unlikely settings of cycles: four- bar cycles and eight- bar hypermeasures 128 8.4 “Among My Souvenirs” (Horatio Nicholls/Al Dubin-Edgar Leslie), mm. 1–17 130 8.5 “I’m in the Mood for Love” (Jimmy McHugh/Dorothy Fields), mm. 1–16 130 8.6 “Stardust” (Hoagy Carmichael), mm. 5–12 131 8.7 “All the Th ings You Are” (Jerome Kern/Oscar Hammerstein II) , mm. 1–8 131 8.8 “Fly Me to the Moon” (Bart Howard), mm. 1–8 132 8.9 “Bouncin’ with Bud” (Bud Powell), mm. 33–40 132 8.10 “It’s Only a Paper Moon” (Harold Arlen), mm. 1–16 133 8.11 “Nature Boy” (eden abhez), mm. 5–12 134 8.12 “Moonlight Becomes You” (Jimmy Van Heusen/Johnny Burke), mm. 21–28 134 viii List of Musical Examples, Figures, and Tables ix 8.13 “You’d Be So Nice to Come Home To” (Cole Porter), mm. 25–32 135 8.14 “Just You, Just Me” (Jesse Greer), mm. 21–28 136 8.15 “Th e Boy Next Door” (Hugh Martin/Ralph Blaine), mm, 5–12 136 8.16 “Just Friends” (John Klenner/Sam Lewis), mm. 1–32 139 Figures 1.1a Sheehan’s 1946 transcription of stuttering behavior: “January” (aft er Sheehan 1974 : 206) 20 1.1b Sheehan’s 1946 transcription of stuttering behavior: “Rushville” (aft er Sheehan 1974 : 206) 20 1.2 Description of tempo- independent MIDI “fl am” stutter eff ect ( “Variations of Writing Rhythm Patterns” 1983 : 26) 24 1.3 Th e Mighty Paris demonstrates live MPC performance techniques. His right- hand thumb activates the note repeat function, while his left hand holds down multiple touch pads to retrigger several samples at once (video still from “ MPC Studio 16 Levels with Note Repeat”) 26 1.4 Brian Transeau, Richard Boulanger and Taemin Cho’s proposed interface for Stutter Edit live performance soft ware (aft er US patent application 20090281793 A1, fi led 12. XI .2009) 30 1.5 iZotope Stutter Edit™ plugin 30 2.1 Waveform of beginning (0:50–0:60) and end (6:18–6:28) of “Th e Payback” 41 2.2 Four- against-three fi gure (left ) and on- and-off fi gure (right) 44 2.3 Reversed bass and kick drum from Rihanna’s “Needed Me” (2016) 46 9.1 Inverted-U relationship between preference and familiarity 154 9.2 B illboard Hot 100 chart history for “Smells like Teen Spirit” (Nirvana) 155 Tables 7.1 Formal scheme of “I Cover the Waterfront” as recorded in 1945 by Billie Holiday 109 8.1 Weak and strong cycles at two- and four- bar levels 126 9.1 Form chart for “You Belong with Me” by Taylor Swift (2008) 159