Get Free Ebook The Poetry of Pop, by Adam Bradley

Get Free Ebook The Poetry of Pop, by Adam Bradley

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The Poetry of Pop, by Adam Bradley

The Poetry of Pop, by Adam Bradley


The Poetry of Pop, by Adam Bradley


Get Free Ebook The Poetry of Pop, by Adam Bradley

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The Poetry of Pop, by Adam Bradley

Review

"Mr. Bradley skillfully breaks down a century of standards and pop songs into their elements to reveal the interaction of craft and art in composition and performance."—Dominic Green, Wall Street Journal"Adam Bradley is unafraid to blur the boundaries . . . he can be warm and insightful. He highlights differences between modern poetry and pop music by arguing that if you showed an ancient Greek or an Elizabethan Ashberry’s poem 'by an Earthquake' alongside Taylor Swift’s 'Blank Space,' the time travellers would identify the neatly rhyming Swift as the poet."—Victoria Segal, Sunday Times"A sort of readers’ manual for pop, calmly taking the reader through the different aspects of analysing songs, and thereby appreciating them better. . . . What elevates The Poetry of Pop, though, is the continuous animating presence of Bradley’s humour, intelligence and eye for detail. . . . I have never read a smarter, clearer or more compelling guide to reading poetry."—Tim Smith-Laing, Daily Telegraph"Bradley deploys a formidable set of skills. He has an acute ear, dazzling command of seemingly the entire history of pop and a pleasingly wide range of taste, drawing on examples from Gershwin to Guns 'n' Roses to make his points. His prose has precision and clarity when discussing even the most recondite of literary terms. As with all good teachers, his passion for his subject animates his writing and makes his enthusiasm nearly communicable."—Michael Lindgren, Washington Post"Having wrestled with the poetics of rap and hip-hop in his earlier tomes, Bradley here buckles the reader into place for a trip through the myriad effects of pop. . . . Along the way, the language of serious poetry criticism is put to engaging use . . . [and] makes for some interesting insights."—Dickon Edwards, The Wire“I’m not sure what to call The Poetry of Pop, beyond superb.”—Kevin Dettmar, American Literary History"Author Adam Bradley finds the poetry in a century of popular music, from the tunes and lyrics of Bob Dylan and Rihanna to Beyoncé and the Beatles."—Parade magazine“I’m not sure what to call The Poetry of Pop, beyond superb. . . . [The book] is a towering achievement: it provides a structure and a wealth of rich, close readings to make us all better critics of rock and pop. All those trying to do that work owe Bradley a great debt.”—Kevin Dettmar, American Literary History"This book mounts a powerful defense of pop music’s artistry. Bradley’s book is filled with provocative claims, offered clearly, intelligently, and persuasively."—David Caplan, Ohio Wesleyan University"Adam Bradley ingeniously unknots an argument ongoing since the first listener spun down the AM dial in search of the right song: what is the relationship between the words and notes in pop music? With accessible virtuosity, Bradley examines pop music’s motifs and lyric gestures in new and wholly unexpected ways. This superb book is a must for all of us who love the language of music and are moved as much by the lyrics as by the guitar solos."—Adrian Matejka, author of The Big Smoke"Idiosyncratic and infuriating, refusing systems and standards, this mad little book is irreplaceable for its appendices alone."—Stephin Merritt, The Magnetic Fields"Adam Bradley has written a groundbreaking study. Its critical mélange of literary criticism, musicology, neuroscience, and songwriters is especially apt, imaginative, and noteworthy."—Anthony Bolden, University of Kansas

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About the Author

Adam Bradley is professor of English and founding director of the Laboratory for Race & Popular Culture (RAP Lab) at the University of Colorado Boulder. He is the author of Book of Rhymes: The Poetics of Hip Hop and coeditor of The Anthology of Rap.

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Product details

Hardcover: 424 pages

Publisher: Yale University Press; 1st edition (March 28, 2017)

Language: English

ISBN-10: 0300165021

ISBN-13: 978-0300165029

Product Dimensions:

6.1 x 1.1 x 9.2 inches

Shipping Weight: 1.7 pounds (View shipping rates and policies)

Average Customer Review:

3.9 out of 5 stars

22 customer reviews

Amazon Best Sellers Rank:

#122,245 in Books (See Top 100 in Books)

Not what I expected. Boring and repetitive. It's just nonsense stuff about music. As a song writer myself much of the stuff he says is not true. For example, Axl Rose wasn't thinking music theory when he wrote songs. He was probably high and at the right place at the right time. Bad book

Great book. Perfect condition and delivery.

a ok

This is an interesting and comprehensive analysis of the relationship between words and music in popular music. Author and professor of English ..... does a creditable job of taking apart and assigning names to rhythmic and poetic elements in various popular songs. Each chapter is devoted to a different aspect of music: Lyric and Song, Reading, LIstening, Rhythm, Rhyme, etc.In addition, the author muses about in general: are lyrics poetry? Are they comparable in value to words of Shakespeare and others? How do words and music interact to produce an effect? and so on. Sometimes this gets a bit repetitious, but the questions are valuable ones. Bradley refers to music from the past as well as more current music, citing a wide variety of songwriters and performers.This is not a quick read, but there is much information packed into 300 or so pages. I found his writings about lyrics (particularly about the use of rhyme) more compelling than those about music. Perhaps this reflects his background and expertise as a professor of English.All in all, this is an impressive and interesting work for those wishing to go deeply into the subject. Recommended to readers with a far reaching interest in this subject.

Adam Bradley is a professor and this book is from Yale University Press, so please know that it is an academic treatise, and quite scholarly. It's not inaccessible, but if you're looking for a read aimed at a popular audience, this is not it. As a casual reader, I found this book better managed in sections, but I can see how in the context of a course and discussion it would be quite helpful.His focus is on lyrics, which he examines as poetry (though he certainly takes the music into context). I felt sometimes as though his points were belabored, but I was particularly interested at the points where he made connections across time and genre.Keep a computer or your phone nearby so you can check out some of the songs you're not familiar with - it helps to make his points clearer and the read more entertaining. Too bad there's not an option to produce a version with samples of the music embedded.

This is a scholarly work analyzing the poetry of pop music. There is not as much of an analyzation of the late 50’s and early 60’s as there is of later years; the former which had a huge reliance on rhyme. At times the work is very over methodical and at points there seems to be less of an emotional response to the whole of music itself.There are many perceptions into lyrics that probably have not occurred to the reader and listener.At the end are almost 80 pages of notes and appendix to the book.This is a study of language and music that all who listen might enjoy.

Other reviews are correct that this is a very dense book - really, almost a textbook for an upper-level music class and Adam Bradley's academic background is on clear display.However - I was really intrigued by a lot of his observations and conclusions and ideas, and even if many of them were over my head he made me think about music and lyrics in a way I hadn't before. Some of it's been told before - but even the "Yesterday/Scrambled Eggs" story that is old hat suddenly had a new depth to it. Discussion about vowels, rhymes, ghost rhymes, how contrived lyrics become much deeper when actually sung - it's all obvious, sure, but you still need somebody to explain WHY we care and why we notice.You have to give it a solid chance and you can't skim it. It will be work - and it's not an "entertaining" read, but it IS insightful. I think the challenge for most readers is you don't really want to read this cover-to-cover, but if you put it aside and come back to it, you'll need to be refreshed on terms and theory. And, it does require at least a passing background with music theory for easy accessibility - since I don't really have that, I had to make a lot of assumptions on what he was talking about, but I feel like I got 75 percent of it.It is a Yale U. Press book, so you know coming in that it's not "general" nonfiction - but it's not so difficult that any music fan won't at least find some neat thoughts here. As a gift, this would be a good idea because a reader could just have fun with it without the investment. If you buy it for yourself, expect to do some work, but I think some of these observations will be a revelation.

This is a wonderfully researched document about popular music which lacked the heart -- the emotion of what I was seeking. Rather than being a disappointment, it just satisfied on another level. Therefore, I most definitely recommend it for anyone devoted to the artistry of music, but I'd advise you to seek out evidence of that emotional arousal elsewhere.

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