caa a22 4500 388113057 CHVBK 20180307125358.0 cr unu---uuuuu 161130e199901 xx s 000 0 eng 10.1017/S0261143000008710 doi S0261143000008710 pii (NATIONALLICENCE)cambridge-10.1017/S0261143000008710 Temperley David Syncopation in rock: a perceptual perspective [Elektronische Daten] [David Temperley] While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text' (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation, a phenomenon of great importance in many genres of popular music and particularly in rock. Copyright © Cambridge University Press 1999 Popular Music Cambridge University Press 18/1(1999-01), 19-40 0261-1430 18:1<19 1999 18 PMU https://doi.org/10.1017/S0261143000008710 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261143000008710 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Temperley David NATIONALLICENCE 773 0- Popular Music Cambridge University Press 18/1(1999-01), 19-40 0261-1430 18:1<19 1999 18 PMU CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 222373113 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge