David Temperley

The Musical Language of Rock

The Musical Language of Rock (Bu) (0)
Edizionelibro (copertina flessibile)
№ dell’articolo873716
Autore / CompositoreDavid Temperley
Linguainglese
Formato312 Pagine; 15,6 × 23,5 cm
Anno di pubblicazione2018
Editore / ProduttoreOxford University Press
N° del produttoreOUP9780190870522
ISBN9780190870522

Descrizione

In all of the books about rock music, relatively few focus on the purely musical dimensions of the style: dimensions of harmony and melody, tonality and scale, rhythm and meter, phrase structure and form, and emotional expression. The Musical Language of Rock puts forth a new, comprehensive theoretical framework for the study of rock music by addressing each of these aspects. Eastman music theorist and cognition researcher David Temperley brings together a conventional music-analytic approach with statistical corpus analysis to offer an innovative and insightful approach to the genre.

With examples from across a broadly defined rock idiom encompassing everything from the Beatles to Deep Purple, Michael Jackson to Bonnie Raitt, The Musical Language of Rock shows how rock musicians exploit musical parameters to achieve aesthetic and expressive goals-for example, the manipulation of expectation and surprise, the communication of such oppositions as continuity/closure and tension/relaxation, and the expression of emotional states.

A major innovation of the book is a three-dimensional model of musical expression-representing valence, energy, and tension-which proves to be a powerful tool for characterizing songs and also for tracing expressive shifts within them. The book includes many musical examples, with sound clips available on the book's website.

The Musical Language of Rock presents new insights on the powerful musical mechanisms which have made rock a hallmark of our contemporary musical landscape.

Contenuto

  •  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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