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Hearing Harmony: Toward a Tonal Theory for the Rock Era by Christopher Doll

Hearing Harmony: Toward a Tonal Theory for the Rock Era by Christopher Doll R EV I EW S Christopher Doll Hearing Harmony: Toward a Tonal Theory for the Rock Era University of Michigan Press, 2017: x + 320 pp. ($90.00 cloth, $39.95 paper) Nathaniel Adam Building theory can be a dry, mechanical affair that risks distancing the reader from the material at hand through pedantic focus on prescriptions or minutiae. In contrast, Christopher Doll’s Hearing Harmony maintains a personal touch throughout, and the intuitive nature of his approach seems to suit the relationship with the music shared by its performers and listeners (as good music theory should). In short, Doll’s approach is truly grounded in hearing, not just making sense. Hearing Harmony is the culmination of work started in Doll’s disserta- tion, “Listening to Rock Harmony” (2007) and continued through articles like “Transformation in Rock Harmony” (2009) and “Rockin’ Out: Expres- sive Modulation in Verse- Chorus Form” (Doll 2007, 2009, 2011); here, finally, the work has been systematized into a method and packaged into a compel- ling monograph. Doll’s love for rock music and his eagerness to share that love are evident in the care he takes in choosing convincing examples, as well as in creating a system that best reflects the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Hearing Harmony: Toward a Tonal Theory for the Rock Era by Christopher Doll

Journal of Music Theory , Volume 63 (2) – Oct 1, 2019

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Copyright
© 2019 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-7795200
Publisher site
See Article on Publisher Site

Abstract

R EV I EW S Christopher Doll Hearing Harmony: Toward a Tonal Theory for the Rock Era University of Michigan Press, 2017: x + 320 pp. ($90.00 cloth, $39.95 paper) Nathaniel Adam Building theory can be a dry, mechanical affair that risks distancing the reader from the material at hand through pedantic focus on prescriptions or minutiae. In contrast, Christopher Doll’s Hearing Harmony maintains a personal touch throughout, and the intuitive nature of his approach seems to suit the relationship with the music shared by its performers and listeners (as good music theory should). In short, Doll’s approach is truly grounded in hearing, not just making sense. Hearing Harmony is the culmination of work started in Doll’s disserta- tion, “Listening to Rock Harmony” (2007) and continued through articles like “Transformation in Rock Harmony” (2009) and “Rockin’ Out: Expres- sive Modulation in Verse- Chorus Form” (Doll 2007, 2009, 2011); here, finally, the work has been systematized into a method and packaged into a compel- ling monograph. Doll’s love for rock music and his eagerness to share that love are evident in the care he takes in choosing convincing examples, as well as in creating a system that best reflects the

Journal

Journal of Music TheoryDuke University Press

Published: Oct 1, 2019

References