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‘Covering’ recorded tracks is a central aspect of popular music. Despite many examples, related discourse is limited and includes problematic application of dichotomizing terminology (‘cover’, ‘version’) that can cause obstacles for interpreting the genre and diminish the nuanced approaches taken by artists who produce cover-versions. Examining the Punk Goes… series reveals many examples that go beyond the dichotomy generally presented in musicology. As such, this chapter has three main aims: develop a new framework to investigate the ways in which Punk Goes… tracks innovatively move between the poles of cover and version; explore the connection between imitation and transformation to the ascription of cover and version; and move beyond prior scholarship that emphasizes formal elements and composer intention. Analyses challenge assumptions that equate musical phrases with fixed musical meanings, suggesting instead that the semiotic-framed interpreted manner of performance is more significant than syntactical concerns.
Keywords: Covers ; Gesture ; Musical Meaning ; Performance Analysis ; Pop-Punk ; Semiotics
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https://doi.org/10.1386/9781835951033_14 Published content will be available immediately after check-out or when it is released in case of a pre-order. Please make sure to be logged in to see all available purchase options.