Music analysis: Erasure and beyond

Show simple item record

dc.contributor.advisor Stock, Jonathan en
dc.contributor.advisor Khalil, Alexander en Felfeli-Crawford, Karishmeh 2021-09-23T14:43:25Z 2021-09-23T14:43:25Z 2021-05 2021-05
dc.identifier.citation Felfeli-Crawford, K. 2021. Music analysis: Erasure and beyond. PhD Thesis, University College Cork. en
dc.identifier.endpage 239 en
dc.description.abstract This thesis considers the practice of music analysis as it pertains to various popular musics outside the classical canon. Starting with an analysis of Indian fusion rock song Kandisa, by Indian Ocean, the author demonstrates a methodology rooted in traditional transcription and analysis (in Western notation, and via voice-leading graphs). Her subject position – an Indian ethnomusicologist and analyst in Ireland – allows her to consider tonality through the lens of decolonisation debates and literature, by first focusing on a case-study from her home culture India. In chapter two, the thesis explores the scholarly literature on (Western) popular music analysis, via a survey of texts, debates and arguments that have helped shape the field. By again reminding the reader of her subject position (BBIPOC; non-elite, Western, educated, democratic, Indian scholar of “Western” tonal music), the author sets the stage for the main act of the thesis: a study of Vince Clarke and Andy Bell’s synthpop band Erasure (pictured above), spanning approximately the thirty-year period outlined in the literature review. In chapter three, the author presents an ethnographic reading of Erasure that is sensitive to the culture-bearers’ own competencies, musical abilities, ideas, and reflections, captured via in-depth interviews with Clarke and Bell. These interviews are paired with ideas and frameworks provided by Aaron A. Fox in his seminal text “Real Country” (Fox 2004). In chapter four, a large number of Erasure songs (all composed and performed by Vince Clarke and Andy Bell) are presented in a language of popular criticism, that can be understood by readers of varied musical backgrounds: the band members, the music academics, the Erasure fans. While there is some re-engagement with score-based techniques of chapter one, the author presents fertile new ground from which to study Erasure's popular music that has suffered neglect in music academia, by demonstrating how the English language (minus too much technological or graphic representation) can be a viable means for (BBIPOC) music analysis of Clarke and Bell's work, since it is also the national language of India, and the language of academic musicology in Ireland, where she is based. The anti-elitist approach to music analysis does not only pay lip service to the idea of diversity, accessibility, and inclusion, to say nothing of anti-racist, decolonial strategies themselves. Rather, it advances the idea that the serious study of popular music, and living musicians, is essential to a wider understanding and acceptance of many different cultures more generally – for example, LGBTQ, mixed-race, working-class, anti-ageist, anti-ableist, to name a few. Ultimately, the thesis advances ethnographically-nuanced “music analysis” as a way of proving that ‘musical art — is not an exceptional domain of culture; it is the very heart of culture’ (Fox 2004: 17). en
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.publisher University College Cork en
dc.rights © 2021, Karishmeh Felfeli-Crawford. en
dc.rights.uri en
dc.subject Ethnomusicology en
dc.subject Erasure en
dc.subject Music analysis en
dc.subject Schenkerian analysis en
dc.subject Popular music en
dc.title Music analysis: Erasure and beyond en
dc.type Doctoral thesis en
dc.type.qualificationlevel Doctoral en
dc.type.qualificationname PhD - Doctor of Philosophy en
dc.internal.availability Full text not available en
dc.description.version Accepted Version en
dc.description.status Not peer reviewed en Music en
dc.internal.conferring Autumn 2021 en
dc.availability.bitstream embargoed 2026-09-30

Files in this item

This item appears in the following Collection(s)

Show simple item record

© 2021, Karishmeh Felfeli-Crawford. Except where otherwise noted, this item's license is described as © 2021, Karishmeh Felfeli-Crawford.
This website uses cookies. By using this website, you consent to the use of cookies in accordance with the UCC Privacy and Cookies Statement. For more information about cookies and how you can disable them, visit our Privacy and Cookies statement