The so-called ‘flattened seventh’ in rock
Identifieur interne : 000C46 ( Main/Exploration ); précédent : 000C45; suivant : 000C47The 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.
Url:
DOI: 10.1017/S0261143000007431
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 000827
- to stream Istex, to step Curation: 000748
- to stream Istex, to step Checkpoint: 000A07
- to stream Main, to step Merge: 000C49
- to stream Main, to step Curation: 000C46
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>The so-called ‘flattened seventh’ in rock</title>
<author><name sortKey="Moore, Allan" sort="Moore, Allan" uniqKey="Moore A" first="Allan" last="Moore">Allan Moore</name>
</author>
</titleStmt>
<publicationStmt><idno type="wicri:source">ISTEX</idno>
<idno type="RBID">ISTEX:C61D0BC62AB150C29B02F57E5F72CE954A9D6F6D</idno>
<date when="1995" year="1995">1995</date>
<idno type="doi">10.1017/S0261143000007431</idno>
<idno type="url">https://api.istex.fr/document/C61D0BC62AB150C29B02F57E5F72CE954A9D6F6D/fulltext/pdf</idno>
<idno type="wicri:Area/Istex/Corpus">000827</idno>
<idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000827</idno>
<idno type="wicri:Area/Istex/Curation">000748</idno>
<idno type="wicri:Area/Istex/Checkpoint">000A07</idno>
<idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Checkpoint">000A07</idno>
<idno type="wicri:doubleKey">0261-1430:1995:Moore A:the:so:called</idno>
<idno type="wicri:Area/Main/Merge">000C49</idno>
<idno type="wicri:Area/Main/Curation">000C46</idno>
<idno type="wicri:Area/Main/Exploration">000C46</idno>
</publicationStmt>
<sourceDesc><biblStruct><analytic><title level="a">The so-called ‘flattened seventh’ in rock</title>
<author><name sortKey="Moore, Allan" sort="Moore, Allan" uniqKey="Moore A" first="Allan" last="Moore">Allan Moore</name>
</author>
</analytic>
<monogr></monogr>
<series><title level="j">Popular Music</title>
<title level="j" type="abbrev">Pop. 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. 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.</div>
</front>
</TEI>
<affiliations><list></list>
<tree><noCountry><name sortKey="Moore, Allan" sort="Moore, Allan" uniqKey="Moore A" first="Allan" last="Moore">Allan Moore</name>
</noCountry>
</tree>
</affiliations>
</record>
Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/MusiqueCeltiqueV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000C46 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000C46 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien |wiki= Wicri/Musique |area= MusiqueCeltiqueV1 |flux= Main |étape= Exploration |type= RBID |clé= ISTEX:C61D0BC62AB150C29B02F57E5F72CE954A9D6F6D |texte= The so-called ‘flattened seventh’ in rock }}
![]() | This area was generated with Dilib version V0.6.38. | ![]() |