Hostname: page-component-cd9895bd7-jkksz Total loading time: 0 Render date: 2024-12-25T15:50:36.986Z Has data issue: false hasContentIssue false
  • English
  • Français

Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. Edited by Philip Lambert. Ann Arbor, MI: University of Michigan Press, 2016. 302 pp. ISBN 978-0-472-11995-0

Review products

Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. Edited by Philip Lambert. Ann Arbor, MI: University of Michigan Press, 2016. 302 pp. ISBN 978-0-472-11995-0

Published online by Cambridge University Press:  13 April 2018

Drew Nobile
Drew Nobile*
Affiliation:
University of Oregon
*
[email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Reviews
Information
Popular Music , Volume 37 , Issue 2 , May 2018 , pp. 314 - 316
Copyright
Copyright © Cambridge University Press 2018 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Covach, J. 2005. ‘Form in rock music: a primer’, in Engaging Music: Essays in Musical Analysis, ed. Stein, D. (New York, Oxford University Press), pp. 65–76Google Scholar
Covach, J. 2006. ‘From craft to art: formal structure in the music of the Beatles’, in Reading The Beatles: Cultural Studies, Literary Criticism, And The Fab Four, ed. Womack, K. and Davis, T.F. (Albany, NY, SUNY Press), pp. 37–54Google Scholar
de Clercq, T. 2012. ‘Sections and successions in successful songs: a prototype approach to form in rock music’. PhD Dissertation, Eastman.Google Scholar
Everett, W. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes (New York, Oxford University Press)Google Scholar
Frith, S. 1996. Performing Rites: On the Value of Popular Music (Cambridge, MA, Harvard University Press)Google Scholar
Moore, A. 2012. Song Means: Analysing and Interpreting Recorded Popular Song (Farnham, Ashgate)Google Scholar
Nobile, D. 2011. ‘Form and voice leading in early Beatles songs’, Music Theory Online, 17/3. http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.nobile.html (accessed 1 March 2018).Google Scholar
Summach, J. 2011. ‘The structure, function, and genesis of the pre-chorus’, Music Theory Online 17/3. http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.summach.html (accessed 1 March 2018)Google Scholar