David Temperley
Musical Language of Rock
David Temperley
Musical Language of Rock
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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.
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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.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press, USA
- Seitenzahl: 312
- Erscheinungstermin: 22. Februar 2018
- Englisch
- Abmessung: 233mm x 154mm x 22mm
- Gewicht: 444g
- ISBN-13: 9780190870522
- ISBN-10: 0190870524
- Artikelnr.: 51132021
- Verlag: Oxford University Press, USA
- Seitenzahl: 312
- Erscheinungstermin: 22. Februar 2018
- Englisch
- Abmessung: 233mm x 154mm x 22mm
- Gewicht: 444g
- ISBN-13: 9780190870522
- ISBN-10: 0190870524
- Artikelnr.: 51132021
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.
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
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
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