Hostname: page-component-586b7cd67f-tf8b9 Total loading time: 0 Render date: 2024-11-27T21:33:50.886Z Has data issue: false hasContentIssue false
  • English
  • Français

His name was Prince: a study of Diamonds and Pearls

Published online by Cambridge University Press:  11 November 2008

Anne Danielsen
Get access Rights & Permissions [Opens in a new window]

Extract

The album Diamonds and Pearls had recently been released when I started working on this study of Prince's music. It had not, therefore, obtained the many layers of personal history which enveloped the earlier albums by Prince in my collection. In addition, it seemed to me an absolutely contemporary record: an exemplary sign of the times which would be able to say something in general about our time. But my initial question was simply: what characterises Prince's music?

Type
Articles
Information
Popular Music , Volume 16 , Issue 3 , October 1997 , pp. 275 - 291
Copyright
Copyright © Cambridge University Press 1997

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

Barthes, R. 1973. ‘Théorie du texte’ (Text theory), in Encyclopædia Universalis France, vol. 15, pp. 1013–17Google Scholar
Barthes, R. 1989. The Rustle of Language (Berkeley and Los Angeles)Google Scholar
Dahlhaus, C. 1977. Grundlagen der Musikgeschichte (Foundations of music history) (Köln)Google Scholar
Danielsen, A. 1993. ‘“My name is Prince” – en studie i Diamonds andPearls’ (‘My name is Prince’ – a study of Diamonds andPearls), cand. philol. thesis (University of Oslo)Google Scholar
Hawkins, S. 1992A. Stylistic Diversification in Prince of the Nineties: An Analysis of Diamonds and Pearls (University of Oslo)Google Scholar
Hawkins, S. 1992B. ‘Prince: harmonic analysis of “Anna Stesia”’, Popular Music, 11/3, pp. 325–35CrossRefGoogle Scholar
Hawkins, S. 1995. ‘Being banal: The Pet Shop Boys’, Popular Musicology Quarterly, 2–6/95, pp. 25–38Google Scholar
Horkheimer, M. and Adorno, T.W. 1981. Upplysningens dialektik (Dialectics of Enlightenment) (Göteborg)Google Scholar
Jameson, F. 1984. ‘Postmodernism, or the cultural logic of late capitalism’, New Left Review, 146, pp. 53–92Google Scholar
Kerman, J. 1980. ‘How we got into analysis, and how to get out’, Critical Inquiry, 7, pp. 311–31CrossRefGoogle Scholar
Kerman, J. 1985. Musicology (London)Google Scholar
Lyotard, J.F. 1992. The Postmodern Explained to Children (London)Google Scholar
Moore, A.F. 1993. Rock: The Primary Text (Buckingham and Philadelphia)Google Scholar
Solie, R.A. 1980. ‘The living work: organicism and musical analysis’, 19th Century Music, IV/2, pp. 147–56CrossRefGoogle Scholar
Stratton, J. 1989. ‘Beyond art: postmodernism and the case of popular music’, Theory, Culture & Society, 6, pp. 31–57CrossRefGoogle Scholar
Straw, W. 1988. ‘Music video in its contexts: popular music and post-modernism in the 1980s’, Popular Music, 7/3, pp. 247–66CrossRefGoogle Scholar
Treitler, L. 1980. ‘History, criticism, and Beethoven's Ninth Symphony’, 19th-Century Music, III/3, pp. 193–210CrossRefGoogle Scholar
Wikshåland, S. 1990. ‘I tradisjonens trollspeil – Historiografiske perspektiver på stilhistoriens krise’ (In the ‘troll’-mirror of tradition – historiographic perspectives on the crisis of style-history), in Estetikk og historisitet (Aesthetics and historicity), ed. Meyer, S. (Bergen)Google Scholar