The Church of the Sonic Guitar

Palmer, R. Barton

doi:10.1215/9780822382225-002

Cited by 4 publications

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“…The overtone series has also been pressed into the service of other systems to support claims of naturalness, as in, for example, the creation of a forty-three-note scale by twentieth-century composer Harry Partch. See also Robert Palmer's discussion of the impact of guitar overtones, amplifier distortion and reverb, and recording studio effects on the history of rock 'n' roll (Palmer 1991). 7.…”

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confidence: 99%

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elvis costello, the empire of the e chord, and a magic moment or two

Brackett¹

2005

Pop. Mus.

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the phrase ‘this magic moment’ recurs throughout elvis costello's ‘it’s time' (1996). an allusion to pop history – the drifter's ‘this magic moment’ (1960) – is thus used in the service of a fatalistic narrative that manages to evoke both the ‘revenge and guilt’ famously associated with costello's early career and the early 1960's romanticism of brill building pop. the musical ‘magic moment’ of the song arrives in a ringing e major chord at the end of the chorus, played in open position on the electric guitar. the use of this e major chord references another line of pop music history, one that stretches back to the formation of ‘folk-rock’ in the mid-1960s. this paper serves as an example of how one song creates a series of magic moments that resonate densely with simultaneous histories.

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Section: Endnotesmentioning

confidence: 99%

“…11. See Palmer (1991) for a discussion of many other blues-based examples from the 1950s and 1960s. 12.…”

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confidence: 99%

elvis costello, the empire of the e chord, and a magic moment or two

Brackett¹

2005

Pop. Mus.

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Black Musics, Technology, and Modernity: Exhibit A, the Drum Kit

Avanti¹

2013

Popular Music and Society

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Captivating Technologies: Reflections on the Equal-Tempered Diatonic Keyboard

Avanti¹

2015

tech

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W]hen you can measure what you are speaking about, and express it in numbers, you know something about it; but when you cannot measure it, when you cannot express it in numbers, your knowledge is of a meager and unsatisfactory kind: it may be the beginning of knowledge, but you have scarcely, in your thoughts, advanced to the stage of science, whatever the matter may be. -William Thomson (1883, "Electrical Units of Measurement," 73-74)The organ is an instrument strongly bearing the character of a machine. The person who operates it is rigidly bound by the technical aspects of tone formation, providing him with little liberty to speak his personal language. -Max Weber (1921, The Rational and Social Foundations of Music, 117)Since [cultural] patterns [of expression] are always acquired through and in the context of social relationships and their associated emotions, the decisive style-forming factor in any attempt to express feelings in music must be its social content. If we want to find the basic organizing principles that affect the shapes or patterns of music, we must look beyond the cultural conventions of any century or society to the social situations in which they applied and to which they refer. -John Blacking (1973, How Musical Is Man? 73)[T]echnology . . . emerges from social systems and thus necessarily reflects, internalizes, and often changes power relations and cultural assumptions. -Braden Allenby and Daniel Sarewitz (2011,The Techno-Human Condition, 32)Our writing tools are also working on our thoughts. -Friedrich Nietzsche (1882, quoted in Friedrich Kittler, Gramaphone, Film, Typewriter, 200)Peter Avanti is a musician, and teaches cultural studies and language at the Università degli Studi,This reflection on the diatonic keyboard and associated technologies in Western musical culture connects several histories not often related: music technology, production, the modern Western concept of knowledge and truth through reason, and the social or ethico-aesthetics of musical culture and their relation to Eurocentric ideology. I begin with observations on the Euro-American cultural embrace of instrumental reason, technology, and technological systems, particularly their relation to musical technologies, both hardware and software: mechanics, tuning, notation, publishing, manufacturing, electronics. Then I briefly revise the history of the keyboard, its emergence in Western musical culture from the ancient Greek/ Egyptian hydraulis/organ to the equal-tempered pianoforte to the keyboard switches of today's digital synthesizers and controllers. Finally, with a nod toward the disruptions and aspirations of African American and European avant-garde innovations and experimentation, I offer considerations on the diatonic keyboard's continuing importance for today's musical culture and its tools of production. My interest is to better appreciate culture, technology, and production as intersecting, collectively shaped configurations, and to enhance understanding of Western musical tools and musico-technological ...

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The Church of the Sonic Guitar

Cited by 4 publications

References 0 publications

elvis costello, the empire of the e chord, and a magic moment or two

elvis costello, the empire of the e chord, and a magic moment or two

Black Musics, Technology, and Modernity: Exhibit A, the Drum Kit

Captivating Technologies: Reflections on the Equal-Tempered Diatonic Keyboard

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