Melody and Accompaniment - Philip Tagg

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P Tagg: melody Typologies of melody 14 Ex. 40 Roy Milton: Hucklebuck (1949). Ex. 41 Melodic anaphora — (a) Silvers: April Showers; (b) Akst: Am I Blue? as quoted by Middleton (1983: 250). Ex. 42 Rossini: William Tell Overture (1829), a.k.a. theme from The Lone Ranger (1949)
P Tagg: melody Typologies of melody 15 Ex. 43 Gershwin: A Foggy Day in London Town (1937) quoted by Middleton (1983:251). Connotative typologies Families of melody definable according to the kind of structural parameters mentioned above are often grouped together in more connotative, perceptual or semiotic categories. Concepts such as the Arabic maqam, Iranian dashtgah and Indian RAGA all exemplify the formalisation of links observed in particular cultures between, on the one hand, certain categories of tonal, rhythmic and motivic structure and, on the other, certain regional locations or ethnic groups, or specific moods, attitudes, activities, types of behaviour, times of the day, etc. Stefani and Marconi (1992: 111-229) expound several connotative categories of popular melody in Western culture. These include ‘dream’, ‘desire and tenderness’, ‘meditation’, ‘supermusic’, ‘recitation’ etc. For example, the authors characterise ‘dream’ structurally in such terms as slow movement, smooth articulation, arched or waved pitch profile spanning a large range, phrase length well in excess of normal breathing, continuous transformation of main motif(s), unexpected intervals, lack of hard scansion and accentuation, etc. More connotatively they note similarities with slow motion camera work, soft focus, suspended animation, large spaces, fluid gestures like unpredictable flight, beauty, the unreal, etc. This melodic cate-
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Melody and Accompaniment - Philip Tagg

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