{"title":"合唱","authors":"Drew F. Nobile","doi":"10.1093/oso/9780190948351.003.0003","DOIUrl":null,"url":null,"abstract":"This chapter looks at rock’s most expressively significant section: the chorus. The chapter argues that rock’s choruses divide into three general types, differentiated by their harmonic profiles but with distinct lyrical, thematic, and expressive features. Sectional choruses have complete harmonic and thematic structures and are relatively autonomous and separate from the verse; continuation choruses begin off-tonic and combine with the preceding verse in a single, unified trajectory; and telos choruses begin with an arrival and then plateau at a high energetic state.","PeriodicalId":260154,"journal":{"name":"Form as Harmony in Rock Music","volume":"11 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Choruses\",\"authors\":\"Drew F. Nobile\",\"doi\":\"10.1093/oso/9780190948351.003.0003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter looks at rock’s most expressively significant section: the chorus. The chapter argues that rock’s choruses divide into three general types, differentiated by their harmonic profiles but with distinct lyrical, thematic, and expressive features. Sectional choruses have complete harmonic and thematic structures and are relatively autonomous and separate from the verse; continuation choruses begin off-tonic and combine with the preceding verse in a single, unified trajectory; and telos choruses begin with an arrival and then plateau at a high energetic state.\",\"PeriodicalId\":260154,\"journal\":{\"name\":\"Form as Harmony in Rock Music\",\"volume\":\"11 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-06-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Form as Harmony in Rock Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780190948351.003.0003\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Form as Harmony in Rock Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190948351.003.0003","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
This chapter looks at rock’s most expressively significant section: the chorus. The chapter argues that rock’s choruses divide into three general types, differentiated by their harmonic profiles but with distinct lyrical, thematic, and expressive features. Sectional choruses have complete harmonic and thematic structures and are relatively autonomous and separate from the verse; continuation choruses begin off-tonic and combine with the preceding verse in a single, unified trajectory; and telos choruses begin with an arrival and then plateau at a high energetic state.
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