[identity profile] dubdobdee.livejournal.com posting in [community profile] poptimists
i. ok so out of "scholarly diligence" i watched the repeated omnibus about syd b last night
ii. and confirmed that barrett-era PF = post-barrett PF = post-PF barrett = ALL AS USELESS AS ONE ANOTHER
iii. except then i slept and dremt ALL NIGHT dreams soundtracked by barrett songs >:(

so this raises the deep poptimist question: is a tune that sticks in yr mind GOOD even if you HATE IT -- isn't the craft of melody a kind of nerve-glue to attach you to a ahem "work" so that yr feelings of some particular moment get externalised into it and there replayed?

anyway i am quite happy to grant that SB had an unusual facility with oddly shaped song-flow, burden and refrain* -- except i think i would also argue that the collective direction of the outfit he founded was increasingly at odds with this gift (cf also curtis and JD-NO)... they were fashioning a monumental high-volume drone juggernaut; his gift was quirkily quaint'Nquiet little broke-back ditties -- and that the split (as with joy div) was inevitable on musical grounds; the psycho-chemical context a pretext for sentimentalists and clueless romantics

ps the documentary itself was incredibly lame and lazy in almost every regard

Date: 2006-07-31 11:18 pm (UTC)
From: [identity profile] anatol-merklich.livejournal.com
if you can point me to ANY musicology which explores this i will be (1) excited and (2) surprised -- "why melodies work" is the great unspoken in musical analysis, in my experience

Mark, I read something about that in this otherwise at times pretty unbearably fawning book (http://www.amazon.co.uk/gp/product/0711981671/026-0054579-5973262?v=glance&n=266239) once -- not Real Scholarly Musicology though, more like The Rules that blue russian mentions. It's back at the library now, otherwise I'd post them.

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