More than any rock artist since The Beatles, Radiohead's music
inhabits the sweet spot between two extremes: on the one hand,
music that is wholly conventional and conforms to all expectations
of established rock styles, and, on the other hand, music so
radically experimental that it thwarts any learned notions. While
averting mainstream trends but still achieving a significant level
of success in both US and UK charts, Radiohead's music includes
many surprises and subverted expectations, yet remains accessible
within a framework of music traditions. In Everything in its Right
Place: Analyzing Radiohead, Brad Osborn reveals the functioning of
this reconciliation of extremes in various aspects of Radiohead's
music, analyzing the unexpected shifts in song structure, the
deformation of standard 4/4 backbeats, the digital manipulation of
familiar rock 'n' roll instrumentation, and the expected
resolutions of traditional cadence structures. Expanding on recent
work in musical perception, focusing particularly on form, rhythm
and meter, timbre, and harmony, Everything in its Right Place
treats Radiohead's recordings as rich sonic ecosystems in which a
listener participates in an individual search for meaning, bringing
along expectations learned from popular music, classical music, or
even Radiohead's own compositional idiolect. Radiohead's violations
of these subjective expectation-realization chains prompt the
listener to search more deeply for meaning within corresponding
lyrics, biographical details of the band, or intertextual
relationships with music, literature, or film. Synthesizing
insights from a range of new methodologies in the theory of pop and
rock, and specifically designed for integration into music theory
courses for upper level undergraduates, Everything in its Right
Place is sure to find wide readership among scholars and students,
as well as avid listeners who seek a deeper understanding of
Radiohead's distinctive juxtapositional style.
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