ABSTRACT
Here our purpose is to contextualize—formally and socially—the sonic elements introduced in Chapter 2. We demonstrate how to build on the identification of musical elements by considering musical meaning in relation to genre, function, and performance style. For this we use three very different examples: J.S. Bach’s Bourrée from Suite in E minor, the shakuhachi composition Nesaza Shirabe, and “Over the Rainbow,” with two performances, one by vocalist Judy Garland and another by pianist Art Tatum.
