study-music

Advanced concept in rock music analysis

Also see Foundational books

Harmony

• Tonality
  • Nicole Biamonte. Triadic Modal and Pentatonic Patterns in Rock Music.
  • Nicole Biamonte. Pop/Rock Tonalities
  • Walter Everett. Making Sense of Rock’s Tonal Systems
  • Steingold, Marissa Leigh. Journey to the Flat Side: dualism, subdominants, stacked fourths, pentatonics, and the ‘musical left’
• Blue notes
  • David Temperley, Iris Ren, and Zhiyao Duan. Mediant Mixture and “Blue Notes” in Rock: An Exploratory Study
  • Allan Moore. The so called “flattened seventh” in rock
  • Naphtali Wagner. ‘Domestication’ of Blue Notes in the Beatles’ Songs
• Double-tonic complexes
  • https://www.esm.rochester.edu/integral/35-2022/ferrandino/
  • https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.spicer.html
  • https://www.mtosmt.org/issues/mto.19.25.4/mto.19.25.4.duinker.html
  • https://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.richards.html
  • Drew Nobile. Double-Tonic Complexes in Rock Music
  • Matthew BaileyShea. The Hexatonic and Double-Tonic: Wolf’s “Christmas Rose”
  • Is “tonal pairing” the same? Smith 2013, Schultz 2012
• Melodic-harmonic divorce
  • David Temperley. The melodic-harmonic ‘divorce’ in rock
  • S. Alexander Reed. An Idiom of Melodic-Harmonic Divorce: Sub-Circle Motion in Popular Music
  • David Heetderks. What Happens after the Primal Burn? Dissonance in Sonic Youth’s Middle Period
• Modulation
  • Christopher Doll. Rockin’ Out: Expressive Modulation in Verse-Chorus Form
  • Scott J. Hanenberg. Rock Modulation and Narrative
• Misc
  • Andrew Conklin. Writing Wrong Notes: Chromatic Clashes in the Music of Tune-Yards
  • Victoria Malawey. Harmonic Stasis and Oscillation in Björk’s Medúlla
  • Allan Moore. Patterns of harmony
  • Walter Everett. Pitch Down the Middle

Form

• Trevor de Clercq. Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991
• David B. Easley. Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83)
• Christopher Endrinal. Burning Bridges: Defining the Interverse in the Music of U2
• David S. Carter. Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971
• Victoria Malawey. Strophic Modification in Songs by Amy Beach
• Drew Nobile. Teleology in Verse–Prechorus–Chorus Form, 1965–2020
• Jeffrey S. Ensign. Form in Popular Song, 1990-2009
• Jeremy M. Robins. Phrase Structure, Hypermeter, and Closure in Popular Music
• Patrick Sallings. Metrical Transition and Resolution in the Music of Blindside
• Nicole Biamonte. Formal Functions of Metric Dissonance in Rock Music
• Brad Osborn. Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music
• David Heetderks. The “Rebuff Chorus” in 1960–2000 Pop Music
• Mark Spicer. (Ac)cumulative form in pop-rock music
• Cara Stroud. Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015
• Megan Lavengood, “‘Oops … I Did It Again’: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC,” SMT-V 7.6 (2021). http://www.smt-v.org/archives/volume7.html#oops-i-did-it-again-the-complement-chorus-in-britney-spears-the-backstreet-boys-and-nsync
• SMT-V 06.4 “The Dance Chorus in Recent Top-40 Music,” by Alyssa Barna
• Sonic functions
  • Works by Asaf Peres
  • Robin Attas. Form as Process: The Buildup Introduction in Popular Music

Sound

• Ruth Dockwray and Allan F. Moore. Configuring the sound-box 1965–1972
• Megan L. Lavengood. The Cultural Significance of Timbre Analysis: A Case Study in 1980s Pop Music, Texture, and Narrative
• David K. Blake. Timbre as Differentiation in Indie Music

Unsorted

• Matthew Kolar. Redefining Ornamentation as Formal Functions in 21st-Century Popular Music
• John Covach. Analyzing Texture in Rock
• Kyle Hutchinson. Retrospective Time and the Subdominant Past: Tonal Hermeneutics in Contemporary Broadway Megamusicals
• Peter M. Kaminsky. Revenge of the Boomers: Notes on the Analysis of Rock Music
• Allan Moore. The Persona-Environment Relation in Recorded Song
• Christopher Endrinal. Form and Style in the Music of U2