The Musical Language of Rock puts forth a new, comprehensive theoretical framework for the study of rock music. Combining a conventional music-analytic approach with statistical corpus analysis, the book shows how rock songs "play" with the conventions of the style, and how this contributes to their effect and appeal.
The Musical Language of Rock puts forth a new, comprehensive theoretical framework for the study of rock music. Combining a conventional music-analytic approach with statistical corpus analysis, the book shows how rock songs "play" with the conventions of the style, and how this contributes to their effect and appeal.
David Temperley is Professor of Music Theory at Eastman School of Music. He has published extensively in the fields of music cognition, music theory, and linguistics. His first book, The Cognition of Basic Musical Structures , won the Society for Music Theory's Emerging Scholar Award. He is also a composer and songwriter.
Inhaltsangabe
CONTENTS Preface About the Companion Website 1. Introduction 1.1 The music of rock 1.2 What is rock? 1.3 Controversial issues 1.4 The corpus 2. Scales and Key 2.1 Scales in rock: Previous views 2.2 A corpus approach to scales in rock 2.3 Key-finding 3. Harmony 3.1 The chordal vocabulary 3.2 Harmonic progression 3.3 The Line-of-fifths Axis 3.4 Common harmonic schemata 3.5 Linear and common-tone logic 3.6 Tonicization, cadences, and pedal points 4. Rhythm and Meter 4.1 Meter in rock 4.2 Syncopation and cross-rhythm 4.3 Harmonic rhythm 4.4 Hypermeter 4.5 Irregular meter 5. Melody 5.1 Melodic grouping 5.2 Motive, repetition, and rhyme 5.3 "Melodic-harmonic divorce" 5.4 Mediant mixture and "blue notes" 6. Timbre and Instrumentation 6.1 Approaches to timbre 6.2 Guitar 6.3 Drums 6.4 Other instruments 6.5 The recording process 7. Emotion and Tension 7.1 The valence dimension 7.2 The energy dimension 7.3 Complexity and tension 7.4 Groove 8. Form 8.1 Basic formal types 8.2 The blues progression 8.3 Verse and chorus 8.4 Other section types 8.5 Ambiguous and unusual cases 9. Strategies 9.1 The VCU boundary 9.2 The cadential IV 9.3 Tensional curves 9.4 Shaping a song 9.5 Scalar and tonal shift 10. Analyses 10.1 Marvin Gaye, "I Heard it Through the Grapevine" 10.2 Elton John, "Philadelphia Freedom" 10.3 Fleetwood Mac, "Landslide" 10.4 U2, "Sunday Bloody Sunday" 10.5 Alanis Morrisette, "You Oughta Know" 10.6 Destiny's Child, "Jumpin' Jumpin'" 11. Rock in Broader Context 11.1 The roots of rock 11.2 Stylistic distinctions and changes within rock 11.3 Interactions and fusions 11.4 Rock after 2000 References Index
CONTENTS Preface About the Companion Website 1. Introduction 1.1 The music of rock 1.2 What is rock? 1.3 Controversial issues 1.4 The corpus 2. Scales and Key 2.1 Scales in rock: Previous views 2.2 A corpus approach to scales in rock 2.3 Key-finding 3. Harmony 3.1 The chordal vocabulary 3.2 Harmonic progression 3.3 The Line-of-fifths Axis 3.4 Common harmonic schemata 3.5 Linear and common-tone logic 3.6 Tonicization, cadences, and pedal points 4. Rhythm and Meter 4.1 Meter in rock 4.2 Syncopation and cross-rhythm 4.3 Harmonic rhythm 4.4 Hypermeter 4.5 Irregular meter 5. Melody 5.1 Melodic grouping 5.2 Motive, repetition, and rhyme 5.3 "Melodic-harmonic divorce" 5.4 Mediant mixture and "blue notes" 6. Timbre and Instrumentation 6.1 Approaches to timbre 6.2 Guitar 6.3 Drums 6.4 Other instruments 6.5 The recording process 7. Emotion and Tension 7.1 The valence dimension 7.2 The energy dimension 7.3 Complexity and tension 7.4 Groove 8. Form 8.1 Basic formal types 8.2 The blues progression 8.3 Verse and chorus 8.4 Other section types 8.5 Ambiguous and unusual cases 9. Strategies 9.1 The VCU boundary 9.2 The cadential IV 9.3 Tensional curves 9.4 Shaping a song 9.5 Scalar and tonal shift 10. Analyses 10.1 Marvin Gaye, "I Heard it Through the Grapevine" 10.2 Elton John, "Philadelphia Freedom" 10.3 Fleetwood Mac, "Landslide" 10.4 U2, "Sunday Bloody Sunday" 10.5 Alanis Morrisette, "You Oughta Know" 10.6 Destiny's Child, "Jumpin' Jumpin'" 11. Rock in Broader Context 11.1 The roots of rock 11.2 Stylistic distinctions and changes within rock 11.3 Interactions and fusions 11.4 Rock after 2000 References Index
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