![]() ![]() ![]() These chapters demonstrate that these common forms are associated with general voice-leading structures that act in dialog with the specific voice-leading structures of songs that exhibit these forms. Chapter 4 focuses on AABA form, Chapter 5 on verse–prechorus–chorus, and Chapter 6 on verse–chorus forms. APPLE MAINSTAGE ARPEGGIATOR FULLThis chapter outlines three types of melodic-harmonic divorce: “hierarchy divorce,” “rotation divorce,” and “syntax divorce.” Part II of the dissertation aims to devise voice-leading models for full song forms. Chapter 3, “The Melodic-Harmonic Divorce,” explores contrapuntal paradigms in which the domains of melody and harmony seem to be operating independently. In this conception, chords other than V, such as IV, II, ♭VII, or even some versions of I, can often be said to function syntactically as the dominant. Chapter 2, “Harmonic Syntax,” advocates for a conception of harmonic function based on syntax and form rather than the identity of specific chords. Part I of the dissertation focuses on harmonic and melodic theory. A central claim is that voice-leading structure is intimately related to formal structure such that the two domains are mutually informing. In particular, it investigates ways in which the standard conceptions of voice leading, harmonic function, and counterpoint may be updated to better apply to this new repertoire. APPLE MAINSTAGE ARPEGGIATOR MACThis dissertation situates itself in the middle of an ongoing debate about the applicability of Schenkerian analytical techniques to the analysis of pop and rock music. MainStage lets you take your Mac to the stage with a full-screen interface optimised for live performance, flexible hardware control, and a massive collection of plug-ins and sounds that are fully compatible with Logic Pro. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Jazz has steadily evolved from its inception in the late 19th century to the present. ![]()
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