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A Philosophy of Cover Songs
A Philosophy of Cover Songs
A Philosophy of Cover Songs
A Philosophy of Cover Songs
Acknowledgments
Introduction
What is a Cover?
The dictionary definition
Five problems
Looking for the real definition
The history of covers
Early days
Hijacking continues
Covers that hark back
The lessons of history
Covers and remakes
Covers and film remakes
Covers and mere remakes
What are we doing here?
Conclusion
Kinds, Covers, and Kinds of Covers
Musical works
Tracks
Performances
Songs
The slipperiness of ‘work’
Terminology
What is it that a cover is a cover of?
Mimics and renditions
Conclusion
Interlude: Cover Bands
Listening to Covers
The dim view of covers
Evaluating mimic covers
Evaluating rendition covers
Lyrical changes
Genre shifts
Two modes of appreciation
Originality and rocking out
When artists try to hijack their own hits
Is the distinction grounded in intentions or
in appreciative standards?
Conclusion
The Semiotic Angle
Reference, allusion, and hearing in
Referential covers
Saturated allusions
Hearing in
Reference and appreciation
Against Impossibility
The value of immediate experience
The mystery of intentions
Against Incompleteness
Further reflections on allusions
Evaluating rendition covers, revisited
Covers of covers
Coda
Interlude: Torment and Interpolations
Some Metaphysical Puzzles About Songs
Interpolated covers
Must a cover be the same song as the original?
Striking covers
Songs about songs
The Fitzgerald dilemma
How a Song is Like Ducks
Songs are like species
Species pluralism
Rank pluralism for songs
Concept pluralism for songs
Lyrics as words, lyrics as meaning
Further puzzles resolved
Covers, mash-ups, and medleys
Parodies
Instrumental covers
Conclusion
Epilogue
References
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