戴维-坦珀利（DavidTemperley）：《摇滚音乐语言》（牛津和纽约：牛津大学出版社，2018 年）。xv + 292 pp.31.49英镑（平装本）。ISBN9780190870522.ChristopherDoll，《聆听和谐》：Toward a Tonal Theory for the Rock Era》（安娜堡：密歇根大学出版社，2017 年）。x + 320 页。39.95美元（平装本）。ISBN 9780472073528.DrewNobile, Form as Harmony in Rock Music（牛津和纽约：牛津大学出版社，2020 年）。268 页。25.49 英镑（平装本）。ISBN9780190948368。

IF 0.5 1区艺术学 0 MUSIC

MUSIC ANALYSIS Pub Date : 2023-08-16 DOI:10.1111/musa.12216

Kenneth Smith

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引用次数: 0

摘要

音乐分析，早期观点批评论坛大卫·坦波利，摇滚的音乐语言(牛津和纽约:牛津大学出版社，2018)。Xv + 292页，31.49英镑(每磅)。ISBN 9780190870522。克里斯托弗·多尔，《聆听和谐:走向摇滚时代的调性理论》(安娜堡:密歇根大学出版社，2017)。X + 320页，39.95美元(每磅)。ISBN 9780472073528。德鲁·诺比尔，形式作为摇滚音乐的和谐(牛津和纽约:牛津大学出版社，2020年)。268页，25.49英镑(每磅)。ISBN 9780190948368。Kenneth Smith, Kenneth Smith搜索本作者的更多论文搜索本作者的更多论文首次发表:2023年8月16日https://doi.org/10.1111/musa.12216Read全文taboutpdf ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare给予accessShare全文accessShare全文accessShare全文accessShare请查看我们的使用条款和条件，并勾选下面的复选框以共享文章的全文版本。我已经阅读并接受了Wiley在线图书馆使用共享链接的条款和条件，请使用下面的链接与您的朋友和同事分享本文的全文版本。学习更多的知识。Berlyne, Daniel E.， 1971:美学和心理生物学(纽约:Appleton-Century-Crofts)。Capuzzo, Guy, 2004:“新黎曼理论和流行摇滚音乐的分析”，《音乐理论谱》，26/ii，第177-200页。Covach，约翰，2005年:“摇滚音乐的形式:入门”，在黛博拉斯坦(编)，参与音乐:散文在音乐分析(牛津和纽约:牛津大学出版社)，第65-76。de Clercq, Trevor, 2012:“成功歌曲中的分段和连续:摇滚音乐形式的原型方法”(博士论文)。罗切斯特大学)。de Clercq, Trevor, 2017:“在流行/摇滚音乐形式分析中拥抱模糊性，1982-1991”，乐理在线，23/iii, https://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.de_clercq.html, 2023年2月20日访问。Everett, Walter, 2004:“摇滚的调性系统的意义”，音乐理论在线，10/iv。埃弗雷特，沃尔特，2009:摇滚的基础:从“蓝色麂皮鞋”到“套房:朱迪蓝眼睛”(牛津和纽约:牛津大学出版社)。哈里森，丹尼尔，1994:《半音音乐中的和声功能:一个更新的二元论理论及其先例的叙述》(芝加哥:芝加哥大学出版社)。Hepokoski, James和Darcy, Warren, 2006:奏鸣曲理论的要素:18世纪晚期奏鸣曲的规范，类型和变形(牛津和纽约:牛津大学出版社)。梅耶，伦纳德B.， 1957:“音乐和信息理论的意义”，美学和艺术批评杂志，15/iv，第412-24页。摩尔，艾伦，1995:“摇滚中所谓的“扁平第七””，《流行音乐》，14，第185-201页。Max Reger, 1948: Neues Max-Reger- brevier(巴塞尔:Amerbach)。Russell, James A.， 1980:“A Circumplex Model of Affect”，《人格与社会心理学杂志》，39/vi，第1161-78页。Summach, Jay, 2012:“前20名摇滚音乐中的形式，1955-89”(博士论文)。(耶鲁大学)。塔格，菲利普，1982:“分析流行音乐:理论，方法和实践”，流行音乐，2，第37-65页。Tagg，菲利普，2014:日常调性II:迈向大多数人听到的调性理论(牛津和纽约:大众媒体音乐学者出版社)。坦波利，大卫，2000:“五度线”，音乐分析，19/iii，第289-319页。坦波利，大卫，2007:音乐和概率(剑桥，马萨诸塞州:麻省理工学院出版社)。Temperley, David和de Clercq, Trevor, n.d:摇滚音乐的语料库研究，http://rockcorpus.midside.com，访问2023年2月20日。坦波利，大卫，和谭，达芙妮，2013:“全音阶模式的情感内涵”，音乐感知，30/iii，第237-57页。在问题包含之前的早期视图在线版本的记录参考信息

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DavidTemperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522.ChristopherDoll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528.DrewNobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368.

Music AnalysisEarly View CRITICAL FORUM David Temperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522. Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528. Drew Nobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368. Kenneth Smith, Kenneth SmithSearch for more papers by this author Kenneth Smith, Kenneth SmithSearch for more papers by this author First published: 16 August 2023 https://doi.org/10.1111/musa.12216Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat REFERENCES Berlyne, Daniel E., 1971: Aesthetics and Psychobiology (New York: Appleton-Century-Crofts). Capuzzo, Guy, 2004: ‘ Neo-Riemannian Theory and the Analysis of Pop-Rock Music’, Music Theory Spectrum, 26/ii, pp. 177–200. Covach, John, 2005: ‘ Form in Rock Music: a Primer’, in Deborah Stein (ed.), Engaging Music: Essays in Musical Analysis (Oxford and New York: Oxford University Press), pp. 65–76. de Clercq, Trevor, 2012: ‘ Sections and Successions in Successful Songs: a Prototype Approach to Form in Rock Music’ (PhD diss., University of Rochester). de Clercq, Trevor, 2017: ‘ Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991’, Music Theory Online, 23/iii, https://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.de_clercq.html, accessed 20 February 2023. Everett, Walter, 2004: ‘Making Sense of Rock's Tonal Systems’, Music Theory Online, 10/iv. Everett, Walter, 2009: The Foundations of Rock: From ‘Blue Suede Shoes’ to ‘Suite: Judy Blue Eyes’ (Oxford and New York: Oxford University Press). Harrison, Daniel, 1994: Harmonic Function in Chromatic Music: a Renewed Dualist Theory and an Account of Its Precedents (Chicago: University of Chicago Press). Hepokoski, James, and Darcy, Warren, 2006: Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford and New York: Oxford University Press). Meyer, Leonard B., 1957: ‘Meaning in Music and Information Theory’, Journal of Aesthetics and Art Criticism, 15/iv, pp. 412–24. Moore, Allan, 1995: ‘The So-Called “Flattened Seventh” in Rock’, Popular Music, 14, pp. 185–201. Reger, Max, 1948: Neues Max-Reger-Brevier (Basel: Amerbach). Russell, James A., 1980: ‘A Circumplex Model of Affect’, Journal of Personality and Social Psychology, 39/vi, pp. 1161–78. Summach, Jay, 2012: ‘ Form in Top-20 Rock Music, 1955–89’ (PhD diss., Yale University). Tagg, Philip, 1982: ‘Analysing Popular Music: Theory, Method and Practice’, Popular Music, 2, pp. 37–65. Tagg, Philip, 2014: Everyday Tonality II: Towards a Tonal Theory of What Most People Hear (Oxford and New York: Mass Media Music Scholars’ Press). Temperley, David, 2000: ‘The Line of Fifths’, Music Analysis, 19/iii, pp. 289–319. Temperley, David, 2007: Music and Probability (Cambridge, MA: MIT Press). Temperley, David, and de Clercq, Trevor, n.d.: A Corpus Study of Rock Music, http://rockcorpus.midside.com, accessed 20 February 2023. Temperley, David, and Tan, Daphne, 2013: ‘Emotional Connotations of Diatonic Modes’, Music Perception, 30/iii, pp. 237–57. Early ViewOnline Version of Record before inclusion in an issue ReferencesRelatedInformation

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来源期刊

MUSIC ANALYSIS MUSIC-

CiteScore

0.60

自引率

75.00%

发文量

期刊介绍： Music Analysis is the international forum for the presentation of new writing focused on musical works and repertoires. Through articles of this kind and through its lively Critical Forum, it also aims to take forward debates concerning the relationship of technical commentary on music with music theory, critical theory, music history and the cognitive sciences. Music Analysis is eclectic in its coverage of music from medieval to post-modern times, and has regular articles on non-western music. Its lively tone and focus on specific works makes it of interest to the general reader as well as the specialist.