| Series |
Tracking Pop
Tracking pop. ^A717349
|
| Contents |
Introduction -- Between rock and a harmony place -- Hearing with our eyes, reading with our ears -- Mapping the terrain -- Chapter 1: Tonic and pre-tonic -- Chordal identity -- Tonal center and tonic function -- Pre-tonic function: Dominant and subdominant -- Dominant and subdominant subtypes -- Pre-tonic function: Mediant versus dominant -- Chapter 2: Chains, numerals, and levels -- Chained functions -- Numerals -- Numerals versus functions -- Harmonic levels, functional strengths, and identity as effect -- Additional functions -- Chapter 3: Short and slot schemes -- Two-chord loops and cadences -- Common three-chord loops and cadences -- Rarer three-chord loops and cadences -- Three numerals in four slots -- Four numerals in four slots: Part I -- Four numerals in four slots: Part II -- Four numerals in four slots: Part III -- Chapter 4: Pentatonic, meta-, and extended schemas -- Pentatonic schemas -- Meta-schemas: Part I -- Meta-schemas: Part II -- Extended schemas: Part I -- Extended schemas: Part II -- Chapter 5: Transformational effects -- Altering the aurally prior -- Harmonic transformees -- Kinds of harmonic transformation: Part I -- Kinds of harmonic transformations: Part II -- Chapter 6: Ambiguous effects -- Disambiguating ambiguity -- Centric and functional information: Part I -- Centric and functional information: Part II -- Centric and scalar ambiguity -- Ambiguous two-chord loops -- Ambiguous three-chord and slot-schemas -- Functional ambiguity -- Conclusion -- Expressive effects -- Harmony head. |
| Summary |
"Hearing Harmony" offers a listener-based, philosophical-psychological theory of harmonic effects for Anglophone popular music since the 1950s. It begins with chords, their functions and characteristic hierarchies, then identifies the most common and salient harmonic-progression classes, or harmonic schemas. The identification of these schemas, as well as the historical contextualization of many of them, allows for systematic exploration of the repertory's typical harmonic transformations (such as chord substitution) and harmonic ambiguities. Doll provides readers with a novel explanation of the assorted aural qualities of chords, and how certain harmonic effects result from the interaction of various melodic, rhythmic, textural, timbral, and extra-musical contexts, and how these interactions can determine whether a chordal riff is tonally centered or tonally ambiguous, whether it sounds aggressive or playful or sad, whether it seems to evoke an earlier song using a similar series of chords, whether it sounds conventional or unfamiliar. |
| Bibliography note | Includes bibliographical references (303-310) and index. |
| LCCN | 2016058011 |
| ISBN | 9780472073528 hardcover ; alkaline paper |
| ISBN | 0472073524 hardcover ; alkaline paper |
| ISBN | 9780472053520 paperback ; alkaline paper |
| ISBN | 0472053523 paperback ; alkaline paper |
| ISBN | electronic book |
