Interpreting Popular Music Book

	Preface
1	Introduction
	Prelude	1
I	Codes and competences	9
II	Who is the author?	14
III	Musicology and popular music	17
IV	Postlude	31
2	Family Values in Music? Billie Holiday's and Bing Crosby's "I'll Be Seeing You"	34
I	A tale of two (or three) recordings	35
II	Critical discourse	38
III	Biographical discourse	44
IV	Style and history	54
V	Performance, effect, and affect	58
3	When you're lookin' at Hank (you're looking at country)	75
I	Lyrics, metanarratives, and the great authenticity debate	77
II	Sound, performance, gender, and the honky-tonk	89
III	"A feeling called the blues"	96
IV	The emergence of "country-western"	99
4	James Brown's "Superbad" and the double-voiced utterance	108
I	The discursive space of black music	109
II	Signifyin(g) - words and performance	119
III	Musical signifyin(g)	127
5	Writing, music, dancing, and architecture in Elvis Costello's "Pills and Soap"	157
I	The "popular aesthetic"	159
II	Style and aesthetics	163
III	Interpretation and (post)modern pop	171
IV	A question of influence	195
6	Afterword: the citizens of Simpleton	199
	Appendix: A. Reading the spectrum photos	203
	Appendix: B. Registral terminology	203
	Notes	205
	Bibliography	237
	Discography	249
	Index	251