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Interpreting Music Video
Popular Music in the Post-MTV Era
Brad Osborn
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eBook - ePub
Interpreting Music Video
Popular Music in the Post-MTV Era
Brad Osborn
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About This Book
Interpreting Music Video introduces students to the musical, visual, and sociological aspects of music videos, enabling them to critically analyze a multimedia form with a central place in popular culture.
With highly relevant examples drawn from recent music videos across many different genres, this concise and accessible book brings together tools from musical analysis, film and media studies, gender and sexuality studies, and critical race studies, requiring no previous knowledge.
Exploring the multiple dimensions of music videos, this book is the perfect introduction to critical analysis for music, media studies, communications, and popular culture.
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Unit 1
Interpreting Music
Chapter 1 clip list
Year | Artist | Video |
---|---|---|
1982 | Michael Jackson | Thriller |
1983 | Cyndi Lauper | Girls Just Wanna Have Fun |
1986 | Prince | Kiss |
1987 | Whitney Houston | I Wanna Dance With Somebody |
1991 | Red Hot Chili Peppers | Under the Bridge |
1992 | En Vogue | Free Your Mind |
1992 | Rage Against the Machine | Freedom |
1997 | Radiohead | Karma Police |
2003 | Outkast | Hey Ya! |
2007 | Rihanna (ft. Jay-Z) | Umbrella |
2014 | Taylor Swift | Blank Space |
2016 | Marshmello (ft. Wrabel) | Ritual |
2016 | The Chainsmokers (ft. Halsey) | Closer |
2018 | Nicki Minaj | Barbie Dreams |
2018 | Childish Gambino | This is America |
2018 | Carly Rae Jepsen | Party for One |
Form
- Two Standard Song Forms
- Verse/Chorus Form
- Strophic Form
- Other Sections
- Postchorus
- Video Intro, Fade-Out, Coda
- Drum Break, Rap Verse
- Other Song Forms
- Terminally Climactic Form
- Super-Simple Verse/Chorus Form (SSVC)
- Electronic Dance Music (EDM) Form
- Song Form vs. Video Form
- Parametric Form Chart
- Deep Dive: Doja Cat âJuicyâ (2019)
Chapter 1
Form
Doja Catâs 2019 hit video âJuicyâ gets right to the point. A hip-hop song about her respect for well-endowed derrieres, it starts directly on the chorus, with the song title as its fourth (and fifth) words. Her video doesnât miss a beat either. The first ten seconds summarize the visuals seen over the next three minutes: plain colored backgrounds, various âjuicyâ fruits, and, of course, derrieres of prodigious size (Figure 1.1).
But the way that Doja Cat keeps the viewerâs interest has much to do with the way that the video shapes time, both musically and visually. Itâs a delicate balancing act of providing enough premium shots and sounds in the opening seconds while reserving plenty for later. This shaping of musical and visual time is what this chapter analyzes as a videoâs form. Changes in musical form and visual form are highly coordinated in music videos. Paying attention to one usually leads to a deeper understanding of the other.
This chapter begins by looking at two standard song forms that shape the majority of music videos: verse/chorus form and strophic form. After this overview weâll zoom in a bit more to understand some individual sections that make these forms work. I will then demonstrate three alternative strategies for organizing musical time that depart from these standard forms. Finally, weâll compare the formal structure of a videoâs music with the time flow of the visuals themselves. Only then can then we take a deeper dive into âJuicyâ to fully understand how a song and video that is so seemingly straightforward keeps our interest over time.
Two Standard Song Forms
Verse/Chorus Form
Because uncovering a videoâs formal design piece by piece can obscure the smoother flow of time we experience in a music video, it will be helpful for readers to watch the entirety of Whitney Houstonâs âI Wanna Dance With Somebodyâ to get a sense of the songâs formâthe way it organizes timeâas part of my analysis. As I go through the smaller sections that make this video work, try not to lose the sense of perpetual flow that makes Houstonâs video so enjoyable.
The video begins with an introductory section, often shortened as intro. Like the layers of a cake, the various instruments are added one at a time: percussion, then the bass (0:30), and finally the main riff played by keyboards and horns. This technique is called a buildup, and itâs common in intros.1 Adding these layers one at a time keeps the listenerâs interest before Houstonâs vocals even enter.
Houston begins the verse (0:57) wondering how sheâll chase her blues away. The mood is rather somber. She seems a bit more optimistic in the prechorus (1:14). Her higher vocal range complements the lyrics that state how fine the daytime hours are. But what sheâs really looking forward to is dancing this evening. The chorus (1:28) is the highlight of standard verse/chorus songs. Houston belts out the memorable melody in her highest register yet, beginning immediately on the title lyric. She only sings higher than this once in the song. Listening to chorus two (2:04) and chorus three (3:37) back to back reveals that everythingânot just her vocals but also the instrumental tracksâhas been shifted up in pitch. Pitching the final chorus up is a special technique called the pump-up chorus,2 and itâs especially common in 1980s songs.
This overall formal shape is called verse/chorus form. Itâs one of two standard song forms that make up the majority of music videos. Lyrically, verses typically set up and advance a narrative, while the chorus either reflects on that narrative or drives home its main message. Notice how the chorus contains the songâs title, and its lyrics are the same every time. By contrast, the verseâs lyrics are different each time, even though they appear over the same backing music.
Music videos respond visually to musical sections in nuanced ways. Just like the lyrics change from verse one to verse two, so does the cinematography between these two verses (Figure 1.2). Comparing the cameraâs point...