Chapter: Music, Contexts, and Meaning in U2

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Home > Expression in Pop-Rock Music: Critical and Analytical Essays > Music, Contexts, and Meaning in U2

Expression in Pop-Rock Music: Critical and Analytical Essays |

Walter Everett

Routledge

Expression in Pop-Rock Music: Critical and Analytical Essays

Music, Contexts, and Meaning in U2

Chapter Info

Authors

SUSAN FAST

ARI Id

1666273856782_15284093

Access

Open/Free Access

Pages

183-205

DOI

10.4324/9780203940044-11

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Chapters/Headings	Author(s)	Pages	Info
Th e Musical World(s?) of Frank Zappa: Some Observations of His “Crossover” Pieces	JONATHAN W. BERNARD	10-53
Frank Zappa’s “Th e Black Page”: A Case of Musical “Conceptual Continuity”		54-70
Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos’s “Crucify”		71-100
Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late-1970s American Progressive Rock		101-118
Pitch Down the Middle	WALTER EVERETT	119-182
Music, Contexts, and Meaning in U2	SUSAN FAST	183-205
From L’Étranger to “Killing an Arab”: Representing the Other in a Cure Song		206-220
Th e Imagination of Pop-Rock Criticism	NADINE HUBBS	221-243
Trapped within the Wheels: Flow and Repetition, Modernism and Tradition in Stevie Wonder’s “Living for the City”		244-270
Fumbling Towards Ecstasy: Voice Leading, Tonal Structure, and the Th eme of Self-Realization in the Music of Sarah McLachlan		271-288
Country-Pop Formulae and Craft: Shania Twain’s Crossover Appeal		289-315
Large-Scale Strategy and Compositional Design in the Early Music of Genesis		316-347
Rock and Roll Rhapsody: Pop Epics of the 1970s	ALBIN ZAK	348-363
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