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Transcript of a line from John Lennon's 1968 song Happiness is a Warm Gun.
Transcript of a line from Michelle Branch's 2003 song 'Til I Get Over You.

What is this?

An encyclopedia of

  • the musicological devices that contribute to the distinctive sounds of various artists, genres, and time periods
    Style marker
    Taylor Swift

    Taylor Swift often ends vocal phrases by singing 3̂, dropping to 7̂, then rising to 1̂.

    Transcript of a line from Taylor Swift's 2012 song All Too Well.
    All Too Well (2012)
    Transcript of a line from Taylor Swift's 2014 song Blank Space.
    Blank Space (2014)
    Transcript of a line from Taylor Swift's 2019 song Miss Americana and the Heartbreak Prince.
    Miss Americana and the Heartbreak Prince (2019)
    Transcript of a line from Taylor Swift's 2020 song 'tis the damn season.
    'tis the damn season (2020)
    Transcript of a line from Taylor Swift's 2022 song Karma.
    Karma (2022)
    Transcript of a line from Taylor Swift's 2024 song But Daddy I Love Him.
    But Daddy I Love Him (2024)
    Transcript of a line from Taylor Swift's 2024 song I Can Do It With a Broken Heart.
    I Can Do It With a Broken Heart (2024)
    Transcript of a line from Taylor Swift's 2024 song So High School.
    So High School (2024)
  • the elements that songwriters draw from preexisting songs
    Transcript of a line from Ludwig von Beethoven's 1807 song Sonantina in F Major.
    Transcript of a line from Billy Joel's 1977 song Anthony's Song (Movin' Out).

Why?

  • to enrich your listening
  • to empower your writing
  • to promote awareness of the nature, prevalence, and legitimacy of musical borrowing
[...] the production and perception of music—like language—relies on knowledge that is not easily articulated and, to some extent, unconscious. Anyone who can speak and understand English has some kind of knowledge of the rules of English grammar, but few such people are able to state exactly what those rules are. Similarly, [...] creators and listeners of rock music have knowledge about the norms and regularities of rock, but largely at an unconscious level. In large part, my goal [...] is to articulate this tacit knowledge, to uncover the mental processes and representations involved in musical creation and perception.

— David Temperley, The Musical Language of Rock

What has been will be again, what has been done will be done again; there is nothing new under the sun.

— Ecclesiastes 1:9