The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". This cookie is set by GDPR Cookie Consent plugin. These cookies ensure basic functionalities and security features of the website, anonymously. These findings were interpreted as evidence that musical meaning is not fixed but contingent and that the communication of intentions, ideas or emotions from musicians to listeners is not assured, but it can succeed if several conditions are present.Necessary cookies are absolutely essential for the website to function properly. The main findings were that: a) while listening to the songs the musicians and the listeners did not experience the music as expressive of ideas or emotions most of the time, b) the meanings assigned to the pieces depended on objective characteristics of the musical objects that were linked with semantic referents by the respondents c) those semantic referents were often provided by the lyrics of the songs. Six members from the bands and a group of 14 participants listened to the songs individually and were asked to indicate those moments that called their attention, and to explain what the meaning of each song was. Two songs from a Funk-rock band and 2 songs from a Jazz band were used as stimuli. The notions of musical meaning and musical communication in popular music were studied using a qualitative methodology. This part of the dissertation is largely analytical, and has the secondary goal of demonstrating a Schenkerian analytical methodology applied to rock music. 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.
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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 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. 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.
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