Sweet ThingPub Date : 2021-01-21DOI: 10.1093/oso/9780190881979.003.0008
Nicholas Stoia
{"title":"Conclusion","authors":"Nicholas Stoia","doi":"10.1093/oso/9780190881979.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780190881979.003.0008","url":null,"abstract":"The Conclusion turns back to the initial postwar examples. After the preceding excavation of the musical past, we can now see the ancient foundations upon which these later songs are built. It is not within the scope of this study to make a detailed exploration of the “Sweet Thing” scheme in postwar popular music, but consideration of these and a few other examples gives some indication of the increasingly wide range of genres that it enters into during this period, and of later popular music’s strong reflections of the past.","PeriodicalId":207191,"journal":{"name":"Sweet Thing","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129830537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sweet ThingPub Date : 2021-01-21DOI: 10.1093/oso/9780190881979.003.0006
Nicholas Stoia
{"title":"Melodic Designs","authors":"Nicholas Stoia","doi":"10.1093/oso/9780190881979.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190881979.003.0006","url":null,"abstract":"The most flexible element of the “Sweet Thing” scheme is melody, the subject of Chapter 5. Because this component is so fluid, a great number of melodies defy categorization and seem largely unrelated to one another; and yet there are many that share noticeable characteristics of general shape and contour, which are here categorized under four titles: “Pirate,” “Stand By Me,” “Frog,” and “Blues Frog.” Moreover, these designs clearly relate back to earlier sources. The “Pirate” design, in particular, exhibits especially deep roots, extending back several centuries and ultimately adapted to the stylistic norms of twentieth-century popular music; but the “Stand By Me” and “Frog” designs also have clear origins in earlier music, the former in gospel hymnody and the latter in ragtime. In one of the most fascinating developments in the emergence of the “Sweet Thing” scheme, a melodic design descending from one branch mixes with a poetic form or rhythmic type—or both—descending from another, generating a new hybrid.","PeriodicalId":207191,"journal":{"name":"Sweet Thing","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131618262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sweet ThingPub Date : 2021-01-21DOI: 10.1093/oso/9780190881979.003.0007
Nicholas Stoia
{"title":"Other Forms","authors":"Nicholas Stoia","doi":"10.1093/oso/9780190881979.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190881979.003.0007","url":null,"abstract":"Chapter 6 briefly considers some examples that depart from either the poetic or rhythmic parameters outlined in earlier chapters. The most common departures are songs that maintain the familiar poetic forms but abandon the typical rhythmic profile. The most common textual departures maintain the rhythmic profile without the most constant elements of the poetic form.","PeriodicalId":207191,"journal":{"name":"Sweet Thing","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128011447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sweet ThingPub Date : 2021-01-21DOI: 10.1002/9781119388548.part4
Nicholas Stoia
{"title":"Harmonic Progressions","authors":"Nicholas Stoia","doi":"10.1002/9781119388548.part4","DOIUrl":"https://doi.org/10.1002/9781119388548.part4","url":null,"abstract":"Chapter 4 explores the combination of the poetic forms and rhythmic types with the harmonic language of early blues, country, and gospel music. The main harmonic building blocks of these genres are the major tonic (I), subdominant (IV), and dominant (V) chords, and these are the chords that make up the harmonic progressions in most realizations of the “Sweet Thing” scheme. The harmonic element of the “Sweet Thing” scheme is highly flexible, but this chapter demonstrates that its progressions nonetheless divide into broad comprehensible categories—namely blues-like progressions, periodic progressions, fragmented progressions, and amalgamated progressions—and that the harmony is always closely intertwined with text and rhythm.","PeriodicalId":207191,"journal":{"name":"Sweet Thing","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122215540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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