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Prince: harmonic analysis of ‘Anna Stesia’

Published online by Cambridge University Press:  11 November 2008

Abstract

Musically, it (Lovesexy) is probably the most complex and unconventional body of work he (Prince) has ever produced. The dense undergrowth of twists and disjunctures to which even the most structured songs are subjected brings to mind once again the extended jam rehearsal technique Prince has always favoured. (Hill 1989, p. 210)

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Copyright © Cambridge University Press 1992

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References

Björnberg, A. 1985. ‘On Aeolian harmony in contemporary popular music’, paper presented to Third Conference of IASPM,MontrealGoogle Scholar
Cutler, C. 1984. ‘Technology, politics and contemporary music: necessity and choice in musical forms’, Popular Music, 4, pp. 279300CrossRefGoogle Scholar
Hill, D. 1989. Prince – A Pop Life (Faber and Faber)Google Scholar
Kramer, J. D. 1988. The Time of Music (Chirmer)Google Scholar
Middleton, R. 1990. Studying Popular Music (Open University Press)Google Scholar
Prince, . 1988. ‘Anna Stesia’, Lovesexy. (Controversy Music)Google Scholar
Reynolds, S. 1990. Blissed Out. The Raptures of Rock (Serpent's Tail)Google Scholar
Tagg, P. 1982. ‘Analysing popular music – theory and method’, Popular Music, 2,CrossRefGoogle Scholar
Tagg, P. 1979. Kojak – 50 seconds of television music. Towards the analysis of affect in popular music (Gothenburg)Google Scholar
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