Important prefaceI wrote this article a long time ago (1981)

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This paper explores the position of popular music studies thirty years since the formation of the International Association for the Study of Popular Music. Founder member of the association, Phillip Tagg, discusses what issues need to be addressed in the field, and how could they be better understood. Areas investigated include interdisciplinarity, interprofessionalism, epistemic intertia and invisiblemusic. The paper concludes that musicologists working in popular music havefailed to make such inroads into conventional musicology that popular music and art music are treated equally. It also questions why researchers from non-musical backgrounds still struggle to address the music of popular music studies, and offers solutions. It finally suggests that we are in a new stage of musical culture, in which audio-only/visible music has been replaced with audiovisual/invisible music, and that as a result popular music studies needs to engage further with music and the moving image.

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Resumo: Estudo sobre o desenvolvimento de métodos de análise da música popular, especialmente daquela voltada para ""não-musos"", ou seja, os musicalmente iletrados, a partir de referenciais semiológicos, como denotação (e conotação) poïética e estésica. Palavras-chave: análise da música popular; análise musemática; música para leigos.Music analysis for "non-musos": popular perception as a basis for understanding musical structure and signification Abstract: Study about the development of methods of popular music analysis, especially that addressed to "non-musos", i.e. the illiterate in music, departing from semiotics references such as aesthesic and poïetic denotation (and connotation). Keywords: analysis of popular music, musematic analysis; music for non-majors. -IntroduçãoEste artigo é dividido em duas partes.1 Na primeira, discuto problemas básicos de conceituação em análise musical; na segunda, descrevo métodos de ensino de análi-se musical que desenvolvi para alunos sem treinamento formal em música -que chamo de ""não-musos"" 2 -e defendo sua abordagem enquanto desenvolvimento dos métodos analíticos em música. -Encarando o problema -Cinco contradiçõesOs problemas básicos de conceituação em análise musical aos quais me refiro têm suas origens em uma série de pelo menos cinco contradições inter-relacionadas que tratam de noções sobre música em nossa sociedade. -Valor social e status institucionalA primeira contradição coloca o valor social da música empiricamente verificável em um extremo e seu status institucional no outro. Por um lado, há poucas dúvidas que música, em nossa cultura, é o mais ubíquo dos sistemas simbólicos. Sua importância em termos monetários e PER MUSI -Revista Acadêmica de Música -n.23, 195 p., jan. -jul., 2011 temporais é inegável. Nossos cérebros registram uma mé-dia de 3 horas e meia de música por dia -quase 25% do tempo de vida que passamos acordados. E 90% do tempo das rádios consistem de música, ao passo que metade da programação de TV apresenta música na tela ou como música de fundo. Na verdade, muito pouca gente gasta mais tempo lendo, escrevendo e escutando do que falando, dançando ou olhando para pinturas e esculturas etc.O outro lado desta contradição é que a maioria das instituições de educação musical e pesquisa ainda tende a deixar música no fundo deste amontoado que é o currícu-lo acadêmico. A fatia de tempo e de dinheiro que a músi-ca recebe no currículo escolar e nos salários dos professores e conteúdo não guarda nenhuma ou quase nenhuma relação com sua importância extracurricular em termos financeiros ou de distribuição de carga horária. Esta disparidade entre os valores reais da música hoje e o status baixo que ocupa na hierarquia da educação pública pode ser observada também na política cultural, assim como na educação superior e na pesquisa. 3Em memória de János Maróthy, musicólogo e humanista

BothPopular Musicand the International Association for the Study of Popular Music (IASPM) have been in existence for almost a generation. Given the radical social and political changes affecting the general spheres of work, education and research since the establishment of those two institutions in 1981, it is perhaps time for popular music scholars to review their own historical position and to work out strategies for the brave new world of monetarism facing those who will hopefully survive another generation after we quinquagenarian baby boomers of the rock era have disappeared from the academic scene. Of course, such a process of intellectual and ideological stocktaking requires detailed discussion of a wide range of political, economic and social issues that cannot be covered in a single article. I will therefore restrict the account that follows to a discussion of one particular set of historical strands affecting the development of popular music studies. This part of our history is virtually unknown in the anglophone quarters that have, for obvious reasons of language and music media hegemony, dominated the international field of popular music studies. It is, however, as I hope to show, a story of considerable relevance to more general problems of music education and research at the turn of the millennium. I shall return to these broader issues at the end of the article.

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Why is this article necessary? The easiest way to answer this question is to describe two everyday scenarios. Scenario 1 You're a jobbing composer in the media industry. It's three in the morning and you have to deliver cues for a TV series before 9 a.m. You've run out of inspiration and just need to get the job done. You don't recall and you don't have time to check what Goldsmith or Morricone did for similar scenes or bridges, nor to rework some obscure library music track. Perhaps a basic encyclopedia of musical archetypes might help? That might allow you to vary slightly on well-established semiotic patterns of music or provoke you into finding an unusual solution to your audiovisual problem. The trouble is that no such encyclopedia exists and that it is unlikely ever to be produced. If only there were some mental trick to steer your thoughts in the right direction … Scenario 2 You're teaching first-year media students and have reached the point in the course where you have to tell them about the various roles of music in film, TV, computer games etc. None of the subject's set books deal satisfactorily with this broad topic and you don't know where to turn. If only there were some guidelines presenting basic tenets of music semiotics to explain what music can communicate, particularly when it occurs in conjunction with moving images. Caveat and terminology This article will not solve the sort of problems just described but it will, I hope, explain one possible way of thinking about some basic questions of music semiotics relevant to the moving image. Before explaining those processes of gestural interconversion, though, I need to define