Conclusion

Drew F. Nobile
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Abstract

This book has presented both a methodology for analyzing form in rock songs and a theory of formal organization in the rock output of the 1960s, ’70s, and ’80s. The methodology grows out of the general concept of form as process described in the introduction, where rock songs are seen as cohesive entities unfolding through time. From this point of view, we approach a rock song by listening for broad trajectories, identifying points of stability and tension in small-scale phrases and sections as well as large-scale cycles and entire songs. More specifically, we focus first on a song’s harmonic trajectory, interpreting a prolongational progression through a functional circuit (or noting one’s absence), and then aligning that trajectory with the layout of formal functions. From this methodology comes the theory that the rock repertoire in question is based on a small set of conventional formal-harmonic patterns, what I have been calling rock’s ...
结论
这本书提出了一种分析摇滚歌曲形式的方法,以及20世纪60年代、70年代和80年代摇滚作品的正式组织理论。这种方法源于在介绍中描述的形式作为过程的一般概念,其中摇滚歌曲被视为随着时间展开的有凝聚力的实体。从这个角度来看,我们通过聆听广泛的轨迹来接近摇滚歌曲,在小范围的短语和部分以及大范围的循环和整首歌曲中识别稳定和紧张的点。更具体地说,我们首先关注歌曲的和声轨迹,通过功能回路(或注意到一个人的缺席)来解释延长的进程,然后将该轨迹与形式功能的布局对齐。从这种方法论中产生了一种理论,即所讨论的摇滚曲目是基于一小部分传统的形式谐波模式,我一直称之为摇滚的……
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