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199 Notes Note on Musical Examples 1. See Walter Everett, “Making Sense of Rock’s Tonal Systems,” Music Theory Online 10:4 (2004), http:// mto.societymusictheory.org/issues/ mto.04.10.4/mto.04.10.4.w_everett _frames.html (accessed 5 December 2009), for a compelling discussion of the various tonal systems used in popular music; an exploration of these systems is beyond the scope of this book. 2. Everett notes the possible V–I relationship for “Everything” in the single key of F major in “Making Sense,” Fig. 9. 3. See Walter Everett’s The Beatles as Musicians: Revolver through the Anthology (Oxford: Oxford University Press, 1999); and John Covach’s What’s That Sound? An Introduction to Rock and Its History (New York: W. W. Norton , 2006). 4. Mark Spicer, “(Ac)cumulative Form in Pop-Rock Music,” TwentiethCentury Music 1:1 (2004): 30. 5. Ibid. 6. Timothy S. Hughes, “Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder” (Ph.D. diss., University of Washington, 2003), 14. 7. Richard Middleton, Studying Popular Music (Bristol, Pa.: Open University Press, 1990), 138. Introduction 1. Theodor Adorno with Max Horkheimer, The Dialectic of Enlightenment , trans. Edmund Jephcott (Stanford , Calif.: Stanford University Press, 2002 [1944]). 2. Frederic Jameson, “The Cultural Logic of Late Capitalism,” in Rethinking Architecture: A Reader in Cultural Theory, ed. Neil Leach (London: Routledge , 1997), 227. 3. Interview with Nancy Price, Consumable Online (1 September 1997), quoted in Martin Clarke, Hysterical and Useless (London: Plexus, 2003), 21. See http://www.westnet.com/ consumable/1997/09.01/intradio.html (accessed 5 December 2009) for the full text of the interview. 4. See http://news.bbc.co.uk/1/hi/ entertainment/music/3725075.stm (accessed 5 December 2009). 200 · Notes to pages 5–11 5. Dai Griffiths, “Public Schoolboy Music: Debating Radiohead,” in The Music and Art of Radiohead, ed. Joseph Tate (Aldershot, U.K.: Ashgate, 2005), 162. 6. William Stone, Radiohead: Green Plastic Wateringcan (London: UFO Music Ltd., 1996), 19. 7. Ibid., 37. 8. James Doheny, Radiohead: Back to Save the Universe: The Stories Behind Every Song (New York: Thunder’s Mouth Press, 2002), 142. 9. Quoted in Clarke, Hysterical and Useless, 56. 10. Stone, Green Plastic Wateringcan , 41, 45, and 27. 11. Clarke, Hysterical and Useless, 100, 75, and 71. 12. Quoted in ibid., 92 and 96. 13. Stone, Green Plastic Wateringcan , 51. 14. Quoted in Clarke, Hysterical and Useless, 98. 15. Stone, Green Plastic Wateringcan , 57. 16. Doheny, Back to Save the Universe , 140. See http://www.grammy .com/GRAMMY_Awards/Winners/ (accessed 5 December 2009). 17. Mac Randall, Exit Music: The Radiohead Story (New York: Random House, 2000), 69–70. 18. Griffiths, “Public Schoolboy Music ,” 163–65. 19. See Jerry Lucky, The Progressive Rock Files (Burlington, Ontario: Collector ’s Guide Publishing, 1998), quoted in Progressive Rock Reconsidered, ed. Kevin Holm-Hudson (New York: Routledge , 2002), 3; and Allan F. Moore, Rock: The Primary Text; Developing a Musicology of Rock (Buckingham, Pa.: Open University Press, 1993). 20. Private communication, 6 August 2009. 21. Bill Martin, Listening to the Future : The Time of Progressive Rock (Chicago and La Salle, Ill.: Open Court, 1998), 121. 22. Edward C. Macan, Rocking the Classics: English Progressive Rock and the Counterculture (New York: Oxford University Press, 1996), 26. 23. Quoted in Clarke, Hysterical and Useless, 71. 24. Kevin Holm-Hudson, “‘Worked Out Within the Grooves’: The Sound and Structure of Dark Side of the Moon,” in Speak to Me: The Legacy of Pink Floyd’s The Dark Side of the Moon, ed. Russell Reising (London: Ashgate, 2006), 69–86; and HolmHudson , Progressive Rock Reconsidered, 16. 25. See Greg Hainge, “To(rt)uring the Minotaur: Radiohead, Pop, Unnatural Couplings, and Mainstream Subversion,” in The Music and Art of Radiohead, ed. Joseph Tate (Aldershot, U.K.: Ashgate, 2005), 64–68, 74–78. 26. Clarke, Hysterical and Useless, 127–28. 27. Q magazine, special edition, “Pink Floyd & the Story of Prog Rock,” 1:5 (2005): 111. 28. Chuck Klosterman, “The Rock Lexicon,” Spin 21:5 (May 2005): 61. See also John J. Sheinbaum, “Progressive Rock and the Inversion of Musical Values ,” in Progressive Rock Reconsidered, 21–42; and John Covach, “Progressive Rock, ‘Close to the Edge,’ and the Boundaries of Style,” in Understanding Rock: Essays in Musical Analysis, ed. Covach and Graeme M. Boone (New York: Oxford University Press, 1997). 29. Clarke, Hysterical and Useless, 127–28. 30. Mark Spicer, “(Ac)cumulative Form,” 33n13. 31. Allan F. Moore and Anwar Ibrahim , “‘Sounds Like Teen Spirit’: Identifying...

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