The so-called ‘flattened seventh’ in rock
Identifieur interne : 000827 ( Istex/Corpus ); précédent : 000826; suivant : 000828The so-called ‘flattened seventh’ in rock
Auteurs : Allan MooreSource :
- Popular Music [ 0261-1430 ] ; 1995-05.
Abstract
This article began, quite simply, as the presentation of a stage in the mapping-out of those harmonic practices which serve to distinguish rock and closely cognate styles (hereafter simply ‘rock’) from those of common-practice tonality on one hand, and jazz on another. It soon became apparent, however, that such a task necessitated some detailed consideration of the means by which the conclusions might be presented and, therefore, some careful consideration of analytic method. To my knowledge, there is as yet very little concern for theorising analytic method in rock music and, therefore, what follows may act as a tentative opening of a difficult debate. The issue at present is, simply, whether or not Schenkerian theory can be adequately applied to this music. My conclusion is that as yet it cannot, and I shall present my findings in that light, but the reasons for my position must, I think, be spelt out. Thereafter, my specific concern will be to investigate varieties of the use of the diatonic ‘flattened seventh’ in rock, which I shall do by focusing in turn on three issues, investigating them through the analysis of particular examples rather than through any larger generalisations.
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DOI: 10.1017/S0261143000007431
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ISTEX:C61D0BC62AB150C29B02F57E5F72CE954A9D6F6DLe document en format XML
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Mus.</title><idno type="ISSN">0261-1430</idno><idno type="eISSN">1474-0095</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1995-05">1995-05</date><biblScope unit="volume">14</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="185">185</biblScope><biblScope unit="page" to="201">201</biblScope></imprint><idno type="ISSN">0261-1430</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0261-1430</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">This article began, quite simply, as the presentation of a stage in the mapping-out of those harmonic practices which serve to distinguish rock and closely cognate styles (hereafter simply ‘rock’) from those of common-practice tonality on one hand, and jazz on another. It soon became apparent, however, that such a task necessitated some detailed consideration of the means by which the conclusions might be presented and, therefore, some careful consideration of analytic method. To my knowledge, there is as yet very little concern for theorising analytic method in rock music and, therefore, what follows may act as a tentative opening of a difficult debate. The issue at present is, simply, whether or not Schenkerian theory can be adequately applied to this music. My conclusion is that as yet it cannot, and I shall present my findings in that light, but the reasons for my position must, I think, be spelt out. 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Mus.</title><idno type="pISSN">0261-1430</idno><idno type="eISSN">1474-0095</idno><idno type="publisher-id">PMU</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1995-05"></date><biblScope unit="volume">14</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="185">185</biblScope><biblScope unit="page" to="201">201</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1995</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>This article began, quite simply, as the presentation of a stage in the mapping-out of those harmonic practices which serve to distinguish rock and closely cognate styles (hereafter simply ‘rock’) from those of common-practice tonality on one hand, and jazz on another. It soon became apparent, however, that such a task necessitated some detailed consideration of the means by which the conclusions might be presented and, therefore, some careful consideration of analytic method. To my knowledge, there is as yet very little concern for theorising analytic method in rock music and, therefore, what follows may act as a tentative opening of a difficult debate. The issue at present is, simply, whether or not Schenkerian theory can be adequately applied to this music. My conclusion is that as yet it cannot, and I shall present my findings in that light, but the reasons for my position must, I think, be spelt out. 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Mus.</abbrev-journal-title><issn pub-type="ppub">0261-1430</issn><issn pub-type="epub">1474-0095</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0261143000007431</article-id><article-id pub-id-type="pii">S0261143000007431</article-id><article-id pub-id-type="publisher-id">00743</article-id><title-group><article-title>The so-called ‘flattened seventh’ in rock</article-title><alt-title alt-title-type="left-running">Allan Moore</alt-title><alt-title alt-title-type="right-running">The so-called ‘flattened seventh’ in rock</alt-title></title-group><contrib-group><contrib><name><surname>Moore</surname><given-names>Allan</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>05</month><year>1995</year></pub-date><volume>14</volume><issue>2</issue><fpage seq="7">185</fpage><lpage>201</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1995</copyright-statement><copyright-year>1995</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>This article began, quite simply, as the presentation of a stage in the mapping-out of those harmonic practices which serve to distinguish rock and closely cognate styles (hereafter simply ‘rock’) from those of common-practice tonality on one hand, and jazz on another. It soon became apparent, however, that such a task necessitated some detailed consideration of the means by which the conclusions might be presented and, therefore, some careful consideration of analytic method. To my knowledge, there is as yet very little concern for theorising analytic method in rock music and, therefore, what follows may act as a tentative opening of a difficult debate. The issue at present is, simply, whether or not Schenkerian theory can be adequately applied to this music. My conclusion is that as yet it cannot, and I shall present my findings in that light, but the reasons for my position must, I think, be spelt out. Thereafter, my specific concern will be to investigate varieties of the use of the diatonic ‘flattened seventh’ in rock, which I shall do by focusing in turn on three issues, investigating them through the analysis of particular examples rather than through any larger generalisations.</p></abstract><counts><page-count count="17"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0261143000007431a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Articles</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><ref-list><title>References</title><ref><citation id="ref001" citation-type="journal"><name><surname>Benjamin</surname><given-names>W.</given-names></name> <year>1981</year>. ‘<article-title>Schenker's theory and the future of music</article-title>’, <source>Journal of Music Theory</source>, <volume>25</volume>, pp. <fpage>155</fpage>–73</citation></ref><ref><citation id="ref002" citation-type="book"><name><surname>Bent</surname><given-names>I.</given-names></name> <year>1987</year>. <source>Analysis</source> (<publisher-loc>Basingstoke</publisher-loc>)</citation></ref><ref><citation id="ref003" citation-type="other"><name><surname>Björnberg</surname><given-names>A.</given-names></name> <year>1989</year>. ‘On aeolian harmony in contemporary popular music’, <italic>IASPM Nordic Branch Working Paper No. 1</italic></citation></ref><ref><citation id="ref004" citation-type="journal"><name><surname>Chester</surname><given-names>A.</given-names></name> <year>1970</year>. ‘<article-title>Second thoughts on a rock aesthetic: The Band</article-title>’, <source>New Left Review</source>, <volume>62</volume>, pp. <fpage>75</fpage>–<lpage>82</lpage></citation></ref><ref><citation id="ref005" citation-type="journal"><name><surname>Chew</surname><given-names>G.</given-names></name> <year>1983</year>. ‘<article-title>The spice of music: towards a theory of the 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Merwe</surname><given-names>P.</given-names></name> <year>1989</year>. <source>Origins of the Popular Style</source> (<publisher-loc>Oxford</publisher-loc>)</citation></ref><ref><citation id="ref019" citation-type="book"><name><surname>Walser</surname><given-names>R.</given-names></name> <year>1993</year>. <source>Running with the devil: Power, Gender, and Madness in Heavy Metal Music</source> (<publisher-loc>Hanover, NH</publisher-loc>)</citation></ref><ref><citation id="ref020" citation-type="book"><name><surname>Whiteley</surname><given-names>S.</given-names></name> <year>1992</year>. <source>The Space between the Notes</source> (<publisher-loc>London</publisher-loc>)</citation></ref><ref><citation id="ref021" citation-type="journal"><name><surname>Winkler</surname><given-names>P.</given-names></name> <year>1978</year>. ‘<article-title>Toward a theory of pop harmony</article-title>’, <source>In Theory Only</source>, <volume>4</volume>, pp. <fpage>3</fpage>–<lpage>26</lpage></citation></ref></ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>The so-called ‘flattened seventh’ in rock</title></titleInfo><titleInfo type="alternative"><title>Allan Moore</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>The so-called ‘flattened seventh’ in rock</title></titleInfo><name type="personal"><namePart type="given">Allan</namePart><namePart type="family">Moore</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1995-05</dateIssued><copyrightDate encoding="w3cdtf">1995</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">This article began, quite simply, as the presentation of a stage in the mapping-out of those harmonic practices which serve to distinguish rock and closely cognate styles (hereafter simply ‘rock’) from those of common-practice tonality on one hand, and jazz on another. It soon became apparent, however, that such a task necessitated some detailed consideration of the means by which the conclusions might be presented and, therefore, some careful consideration of analytic method. To my knowledge, there is as yet very little concern for theorising analytic method in rock music and, therefore, what follows may act as a tentative opening of a difficult debate. The issue at present is, simply, whether or not Schenkerian theory can be adequately applied to this music. My conclusion is that as yet it cannot, and I shall present my findings in that light, but the reasons for my position must, I think, be spelt out. 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