Ten Little Title tunes

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ERRATA, etc.

If you find other errors in the book, please let us know.

We sincerely regret the errors listed on this page. The vast majority of these errors are, however, typographical or orthographical. A few are to do with dates of publications or recordings, or else they concern works missing from the bibliography. Rarely do the errors interfere with comprehension or with the truth. All errors listed here have been corrected in preparation for eventual reprinting.

I am particularly grateful to T P Uschanov (Philosophy Department, University of Helsinki) for drawing attention to many errors, of which a few are factual. An asterisk at the end of an erratum line indicates that the error was reported by Uschanov.

General: please note that bugs in the version of Adobe Acrobat Exchange used for generating the text occasionally disrupts the spacing of the lines in which they occur, especially if font changes occur in the line. Spaces between words may be too large or too small, or the right end of the line may not be justified, or there may be end-of-the-line hyphenation anomalies. Errors of this type are not included in the following list unless they result in illegibility or semantic confusion.


p. iv, under Part 2, Tune 1. Responses 18 –> Responses 158.

p. vii. Fullbright –> Fulbright (2 instances).*

p. viii. www.tagg/rants/audititis/audititis.html –> www.tagg.org/rants/audititis/audititis.html

p. x, 2nd para under Acknowledgements: (Sterling) –> (Stirling), i.e. the Scottish city, not the currency. *

p. x, 3 paras up, last line. editorship the –> editorship of the.

p. xi. Fullbright –> Fulbright.*

p. 4, para 2. Readers unfamiliar with the Irangate scandal, Oliver North, etc. can consult such sites as http://www.rotten.com/library/history/political-scandal/iran-contra/ or http://www.counterpunch.org/boles1010.html. Les lecteurs francophones apprécieront sans doute le texte à http://perso.club-internet.fr/vdedaj/cuba/lobby6.html.

p. 4, ftnt 4. Mc Beal –> McBeal. *

p.9. Please delete paragraph 2 (incl. footnote 14, before Table 1). It is identical to paragraph 3 (after Table 1) [Sorry for this clumsy error!].

p. 12, 2nd unnumbered para. Werthästhetik –> Wertästhetik. *

p. 13. Silberman –> Silbermann. *

p. 15: Dahlhaus (1989 -> Dahlhaus (1988 *

p. 16, ftnt 16: see. Dent –> see Dent. *

p. 18, ftnt 35 (3 errors, whoops!): [1] Hughes –> Hugues; [2] Ésquisse –> Esquisse; [3] the Rousseau –> Rousseau. *

p. 21. Dahlhaus (1989 -> Dahlhaus (1988 *

p. 23, para 1: burgers (as prefixed by ham-, beef- or cheese-) –> burghers (i.e. Bürger, borgare, bourgeois, borghese, burgués)! *

p. 31: Massanet-> Massenet *

p. 36: Dahlhaus (1989 -> Dahlhaus (1988 *

p. 44, end of para 1. amusicology –> a musicology.

p. 44: Konsetbyråutredningen -> Konsertbyråutredningen *

p. 44, ftnt 27: ... only serves to confirm ... because it can ... -> only serve to confirm ... because they can * (data are plural)

p. 44: The Beatles and were ... -> The Beatles were *

p. 47, para 2, 3 lines up. eighteenth century is adjectival and –> eighteenth-century.

p. 51 (75% or 8 of 32) -> (75% or 24 of 32) *

p. 52. Wittegenstein -> Wittgenstein (!) *

p. 57, last para, 5 lines up: to a what was –> to what was.

p. 58 ... studying popular music, is, ... studying popular music is, ... *

p. 62. Ozzie Osbourne -> Ozzy Osbourne *

p. 60, table 3: Starkey and Harrison were awarded the MBE, not the OBE.*

p. 61, ftnt 81: Elizabeth II was crowned in 1953, not 1952. (She ascended to the throne 1952-02-06, was crowned 1953-06-02.) *

p. 63: Maxwell-Davis -> Maxwell Davies * "Perhaps you were subliminally thinking of Maxwell Davis, the Los Angeles R&B saxophonist and producer of the 1940s and 1950s? (No royal honours for him, alas.) " - comment from Uschanov). "No, I wan't, actually" (comment from Tagg).

p. 68: Dahlhaus (1989 -> Dahlhaus (1988 *

p. 68: ...disingenuous the following... -> ...disingenuous for the following...

p. 71, end of para 1. furtherhere –> further here.

p. 71, ftnt 113. URL should read www.cs.monash.edu.au/links/postmodern.html *

p. 82, quote, last para: Wilfred Mellers -> Wilfrid Mellers *

p. 86, ftnt 87. Incorrect explanations of acronyms. OBE = Officer of the Order of the British Empire, MBE = Member of the Order of the British Empire.*

p. 90, before quote at foot of page: 289-280 –> 289-290.

p. 96, para under Figure 1: exhibit –> exhibits.

p. 99, Table 1, final cell: unafraid –> unvaried.

p. 101, para 3, line 1: synecdoches –> synecdoche.

p. 107, Table 2. c. 1972 (for Sportsnight) might well be 1973 (needs checking)*

p. 109, line 51: music: remained: –> music remained: .

p.117, line 7: information, –> information.

p. 120, para 2, middle: The first may response, –> The first response may.

p. 121, start of para 2: previously suggested –> previously been suggested.

p. 122, para 1, 9 lines up: field for contained –> field contained.

p. 137, line6: but were –> but they were.

p. 153: Lesley -> Leslie *

p. 156, basses: please move arco from bar 6 and place arco in the same position in bar 2.

p 167: MFP 4261 -> MFP 5261 *

p. 168: bpm Handel'sLargo -> bpm, Handel's Largo *

p. 172, para 1: notes‡ –> •notes (referring to definition of note in Glossary).

p. 179, para 2, end of line 4 –> the Gm7 in Olwen’s bar 2 (Acrobat bug).

p. 183, last para, end of line 8 –> the Gm6 in (Acrobat bug)

p. 187, line 5: three ways –> two ways

p. 187, line 6: not a circle-of-fifths progression –> not a key-specific circle-of-of fifths progression

p. 191, 2 lines up: harmony, modulate reads better as harmony, can modulate

p. 196. A Whiter Shade of Pale (1966) –> A Whiter Shade of Pale (1967).*

p. 211, Minor amen and crisis chords, line 2: example 1:66b –> example 1:65b

p. 213 : Hart. -> Hart: *

p. 216 : 'FRANCE -> FRANCE *

p. 216 : 'ROMANTIC -> ROMANTIC *

p. 217, para 2, lines 2-3, an-aphone should be hyphenated ana-phone

p. 218, ex, 1:75: Ketelby -> Ketelbey. *

p. 218 : Willy Nelson -> Willie Nelson. *

p. 224, para 2, last but 1 line: P66 –> R66

p. 228-229: Travelling Wilburys (British and international spelling) -> Traveling Wilburys (US spelling). *

p. 230: Ketelby's -> Ketelbey's. *

p. 230 (2 instances): Glen Miller -> Glenn Miller. *

p. 235, ftnt 135: Pasedena -> Pasadena. *

p. 241, para 1, 3-2 lines up: lyrical references –> references

p. 243, last para, 4 lines up: dirt or farm land –> dirt road or farm land

p. 246: registratrally -> registrally. *

p. 249, last para, point [iii]: many well-known lullabies –> many common lullabies in Western culture

p. 252, penultimate para, middle: melodic melodic –> melodic

p. 252, last para, line 1: table 1:10 –> table 1:4 (p. 253)

p. 254, para 1, middle: those objects –> that object

p. 259, footnote 135, line 2: The New Venus and La belle dame sans merci –> The New Venus, La belle dame sans merci

p. 260: play Maeterlinck -> play by Maeterlinck. *

p. 261: 22/12/2001 -> 2001-12-22. *

p. 264, para 2, line 9: both constructing –> constructing

p. 294, ex. 1:113: Purple (1932?) -> Purple (1934). *

p. 296: Okie from Moscogie -> Okie from Muskogee. *

p. 310: Skkijrven Polka, -> Skkijrven polkka, *

p. 313 : deutches -> deutsches. *

p. 322: Russia.phrygian -> Russia. Phrygian *

p. 335, ftnt 93. Viglietti is contemporary with Aharonián (b. 1944) but Maslíah was born in 1954

p. 336, para 2, penultimate line: Spanish language is adjectival: –> Spanish-language

p. 350, exx. 2:95 and 2:96: insert 8 under G-clef

p. 352, exx. 2:103-2:104: insert 8 under G-clef

p. 353, exx. 2:106, 107, 109: insert 8 under G-clef

p. 354, exx. 2:112-114: insert 8 under G-clef

p. 354, ftnt 140, para 2, line 4: apart –> a part

p. 354: Tennesse -> Tennessee

p. 356, exx. 2:116:insert 8 under G-clef

p. 357 : Bird Dog (1962) -> Bird Dog (1958) *

p. 358, exx. 2:117-118: insert 8 under G-clef; text for ex. 2:118: JMorris –> J Morris (Acrobat bug)

p. 361, last para, line 1: flat seventh is adjectival and –> flat-seventh

p. 368. [Rawhide] ... as performed by Link Wray... The TV theme "Rawhide" (Tiomkin, Washington) is a completely different tune from Link Wray's rock 'n' roll instrumental "Raw-Hide" (Grant, Wray).* [Sorry. I should have checked this personally instead of asking guitarist friends!]*

p. 369, ex. 2:138: insert 8 under G-clefs

p. 369. .. clean solo Fender sound as main melodic timbre ... « Wray's "Raw-Hide" does not feature "clean solo Fender sound as main melodic timbre," but quite dirty and distorted Fender sound. » * [Sorry. I should have checked this personally instead of asking guitarist friends!]*

p. 373, para 1, line 3: was acquired –> acquired

p. 378, para 2, line 6: p.304) –> p. 304))

p.395, Link Wray paragraph: ... Link Wray and his Ray Men recorded Rumble an action number (Cadence 1347, US #16, Apr. 1958; not the same tune, however, as The Rumble later recorded by The Shadows) and Jack The Ripper ... *

p, 395. Duane Eddy para: Cannonbball -> Cannonball; * 57-8087 -> 47-8087 *

p. 395, Shadows para: Out of the Shandows -> Out of the Shadows. *   (Lloyd-Weber) -> (Lloyd Webber)

pp. 409-430: heading Ten Little Title Tunes — 4 –> Ten Little Title Tunes — 3

p. 413, last para, line 1: hand down –> hands down

pp. 417, 420: Atlee -> Attlee. *

pp. 418-419: (5 instances): Mosely (British fascist) -> Mosley *

p. 424 : the Van Halen Band -> Van Halen

p. 425 : sureley -> surely

p. 425, ftnt 42, line 1: use –> us

p. 426, ftnt 45: footnote , –> footnote 20,

p. 432 : rota's -> Rota's *

p. 445 : Chruchill: -> Churchill *

p. 457, ftnt 19: the Beatles -> the Beatles' *

p. 458. para 2, 6 lines up: sort anguish –> sort of anguish

p. 465, para 1, last line: will illustrated –> will illustrate

p. 472, ftnt 47. Brian Poole and the Tremoloes –> Brian Poole and the Tremeloes.*

p. 473, para 2. Footnote to add. The term "high lonesome sound" is not limited to this advertisement, but has been in use by bluegrass fans for many decades. For instance, it was already used as an album title in 1966 (Bill Monroe, "The High Lonesome Sound", Decca DL 4780). It probably originates in the 1958 single release "High Lonesome" by The Country Gentlemen (Starday 367). *

p. 488 : Tlljournal -> Tljournal *

p. 496 : Sauter-Finnegan -> Sauter-Finegan *

p. 497 : Sauter/Finnegan: -> Sauter-Finegan: *

p. 504, ftnt: 1through -> 1 through *

p. 541, system 1, line 2, start (at "rubato"): please insert text solo trumpet

p. 566, line 2: Philip Sarde’s –> Pierre Jansen’s

p. 567, line 2: Qua-ti Blues (Simeon 1954) –> Quiet Please (Cliff Jackson's Village Cats, 1944)

p. 570, para 1 –> as follows: We have already mentioned New Orleans jazz funeral dirges like St James Infirmary (ex. 8:7) and slow jazz ballads in the minor key like Petite Fleur and Have You Ever Felt This Way? (ex. 8:1, p.566). Petite Fleur is no more than a minor-key Creole jazz blues and we can therefore be no more specific about which aspects of blueness it might connote than the words Creole, jazz and blues might themselves suggest. The fact that Petite Fleur has a French title too and was on Bechets Paris repertoire might be one reason why three respondents associated to clubs, basements or the red light district of the French capital and crime or drama associated with such places, but it is a long shot from this complex and conjectural connection to establishing any clear link between Streetcar as music and the murder and crime VVAs it elicited. St James Infirmary (ex. 8:7) and Have You Ever Felt This Way? (ex. 8:1), not to mention Gloomy Sunday (ex. 8:46, p.596), however, all make explicit mention of unhappiness and death in their lyrics.

p. 573, I Am The Walrus: (1969b) -> (1967b) *

p. 574, ex. 8-12: for1za -> forza *

p. 583 : Adderly's -> Adderley's * ; Lieber -> Leiber * ; Keep Forgetting -> I Keep Forgettin' *

p. 585: Hey Big Spender (1965) -> Hey Big Spender (1966) *

p. 587, ftnt 61: fascist bravely -> fascist era, bravely *

p. 593 (3 instances): 'Marian, Librarian' -> 'Marian the Librarian' *

p. 594, ex. 8:44. Hoochy Coochy Man –> I’m Your Hoochie Coochie Man; also, 1952 should probably read 1954 (recorded in Chicago 1954-01-07). *

p. 597 (3 instances): Sauter-Finnegan -> Sauter-Finegan *

p. 605 : etc They -> etc. They * ; ...line of association -> this line of association. *

p. 608: Lesley -> Leslie *

p. 628 : Adderly -> Adderley * ; Adderly: -> Adderley * ; Lieber -> Leiber *

pp. 628-630: (several instances): Keep Forgetting -> I Keep Forgettin' * ; Lieber -> Leiber *

p. 652 : My Generation (1966) -> My Generation (1965) *

p. 657, ftnt 14 : invidual -> individual *

p. 661 : (*Badalmenti -> (*Badalamenti *

p. 662, ex. 10:2: insert 8 under G-clef

p. 664, final quote should start '[E]nclosing the action of the two-cop symmetry makes a visual argument...

p. 672, last para, 3 lines up: title tune-females –> title-tune females

p. 678, quotation: (p.8) –> (p.7)

p. 682, FAQ 6: tunes List of VVAs –> tune’s List of VVAs

p. 812. URL for Beck (2001) has had to change to www.tagg/org/students/Liverpool/becknews.zip

p. 812. Missing entryCampbell, J G (1942). ‘Basal emotional patterns expressible in music’. American Journal of Psychology, 55.

pp. 812-3. Missing entryChion, Michel (1985). Le son au cinma. Paris: Cahiers du cinma. 5. *

p. 815. Missing entry Hamm, Charles (1979). Yesterdays. Popular Song in America. New York: W W Norton.

p. 820. Missing entryNylof, Goran (1967). Musikvanor i Sverige. Stockholm: Statens Offentliga Utredningar, 1967:9 (appendix to Konsertbyrautredningens slutbetankande). Please also add, though not referred to in book: Nylöf, Göran (1990) ‘Trends in Popular Music Preferences in Sweden 1960-1988’. Popular Music Research (ed. K Roe & U Karlsson): 87-102. Goteborg: NORDICOM-Sweden, No. 1-2 ,1990.

p. 843, Mozart, first entry: E major –> E flat major

p. 848, Sarde. Sarde, Philippe –> Jansen, Pierre and be moved to the Js!