Performance Variables: Some Versions of Dylan's "It Ain't Me, Babe"

Poague, Leland

doi:10.2307/3331995

Cited by 3 publications

(1 citation statement)

References 4 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…For example, Gersten (1971) has asserted that Diana Ross improvised on the last thirty seconds of the record 'Love Child' (1968) (presumably beginning with the line 'I'll always love you'). (On performance aesthetics in rock music, see Poague 1979;Bowden 1982. ) Sound effects as hooks Sound effects can contribute greatly to the mood of a record and provide a distinctive moment to listen for.…”

Section: Improvisation and Accident As Hooksmentioning

confidence: 99%

A typology of ‘hooks’ in popular records

Burns¹

1987

Pop. Mus.

View full text Add to dashboard Cite

What is a ‘hook’? Delson's Dictionary defines it as ‘[t]hat part of a song, sometimes the title or key lyric line, that keeps recurring’ (Hurst and Delson 1980, p. 58). According to songwriters Al Kasha and Joel Hirschhorn, hooks are ‘the foundation of commercial songwriting, particularly hit-single writing’. Hooks may involve repetition of ‘one note or a series of notes … [or of] a lyric phrase, full lines or an entire verse’. The hook is ‘what you're selling’. Though a hook can be something as insubstantial as a ‘sound’ (such as da doo ron ron), ‘[i]deally [it] should contain one or more of the following: (a) a driving, danceable rhythm; (b) a melody that stays in people's minds; (c) a lyric that furthers the dramatic action, or defines a person or place’ (Kasha and Hirschhorn 1979, pp. 28, 29).

show abstract

Section: Improvisation and Accident As Hooksmentioning

confidence: 99%