Dissertation Index
Author: Nobile, Drew F. Title: A Structural Approach to the Analysis of Rock Music Institution: CUNY Graduate Center Begun: February 2012 Completed: December 2013 Abstract: This 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. 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. A central claim is that voice-leading structure is intimately related to formal structure such that the two domains are mutually informing. Part I of the dissertation focuses on harmonic and melodic theory. Chapter 2, “Harmonic Syntax,” advocates for a conception of harmonic function based on syntax and form rather than the identity of specific chords. In this conception, chords other than V, such as IV, II, flat-VII, or even some versions of I, can often be said to function syntactically as the dominant. Chapter 3, “The Melodic-Harmonic Divorce,” explores contrapuntal paradigms in which the domains of melody and harmony seem to be operating independently. This 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 4 focuses on AABA form, Chapter 5 on verse—prechorus—chorus, and Chapter 6 on verse—chorus forms. 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. This part of the dissertation is largely analytical, and has the secondary goal of demonstrating a Schenkerian analytical methodology applied to rock music. Keywords: Rock music, popular music, Schenkerian analysis, form, voice leading, syntax, harmonic function, counterpoint TOC: Chapter 1: Introduction The Structure of the Dissertation On Pop, Pop/Rock, Pop-Rock, Pop and Rock, and Rock Music Transcriptions and Graphs Form: Terminology WhySchenkerianAnalysis? Part I: Harmonic and Melodic Theory Chapter 2: Harmonic Syntax Function as Chord Identity: the Riemannian Tradition Towards a Syntactical Definition of Function The Functional Circuit Cadences and Closure Conclusion Chapter 3: The Melodic-Harmonic Divorce Type 1: Hierarchy Divorce Type 2: Rotation Divorce Type 3: Syntax Divorce Looseness and Tightness Part II: Full Song Forms Chapter 4: AABA and Model 1: d contains PD—D; c returns to T Model 2: d contains PD; c contains D—T Model 3: d begins with a neighboring chord Small Conclusion Chapter 5: Expansion of srdc into Verse—Prechorus—Chorus The PD—T|PD—D Schema Phrase Rhythm Bridge Sections: “PrivateEyes” Expanded Verses The Structural Importance of the Prechorus Chapter 6: Verse—Chorus Forms Sectional Verse—Chorus Form Features of Sectional Verse—Chorus Forms Analytical Interlude: Minimal Verses Continuous Verse—Chorus Form The Grand Neighbor Chord Conclusion Contact: Drew F. Nobile University of Chicago Department of Music 1010 E 59th St. Chicago, IL 60637 Office phone: (773) 702-8009 nobile@uchicago.edu |