A Case for Song: Against an (Exclusively) Recording-Centered Ontology of Rock.

The author argues against the idea that recordings are the only entities that should be appropriately identified as "works" of rock music. More specifically, the author focuses on what he calls the failure of recording-centered accounts of rock to recognize the relevance of songs and songwriting in the making, appreciation and evaluation of rock music. It is argued that songs are legitimate objects of artistic interest and attention within rock music. The author notes that he follows music theorist Theodore Gracyk and others in his understanding of rock not as a narrowly defined musical style, but one which is comprised of a number of loosely connected musical practices and traditions.