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David Temperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522.Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528.Drew Nobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368.

David Temperley, The Musical Language of Rock (Oxford and New York: Oxford University Press,... David Temperley's The Musical Language of Rock brings together in one volume much of the author's previous work in the discipline, drawing most effectively on his and Trevor de Clercq's corpus study of rock music to present a rich empirical study of its language.1 Temperley's contention is that we rock and rollers all know this language already, albeit unconsciously: ‘I believe that experienced rock listeners understand the conventions of the style – at least at an unconscious level – and are sensitive to the ways that songs follow or depart from them’ (p. 211). The book, bursting with new insights, therefore becomes something of a Freudian project of making the unconscious become conscious.Throughout the book, the author moves between theory and analysis, using the music itself to suggest theoretical models which are then tested, tried, broken and mended in the analyses. Temperley aims for an increased understanding of the style to inform his analysis of individual rock pieces. The main analytical case studies are therefore concentrated towards the end of the book, where analysis becomes a form of theory‐in‐practice. He sets out his stall wonderfully in the introduction, taking the opportunity to contextualise his full approach, dealing upfront with potentially controversial issues http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

David Temperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522.Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528.Drew Nobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368.

Music Analysis , Volume 42 (3) – Oct 1, 2023

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References (3)

Publisher
Wiley
Copyright
Music Analysis © 2023 John Wiley & Sons Ltd.
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12216
Publisher site
See Article on Publisher Site

Abstract

David Temperley's The Musical Language of Rock brings together in one volume much of the author's previous work in the discipline, drawing most effectively on his and Trevor de Clercq's corpus study of rock music to present a rich empirical study of its language.1 Temperley's contention is that we rock and rollers all know this language already, albeit unconsciously: ‘I believe that experienced rock listeners understand the conventions of the style – at least at an unconscious level – and are sensitive to the ways that songs follow or depart from them’ (p. 211). The book, bursting with new insights, therefore becomes something of a Freudian project of making the unconscious become conscious.Throughout the book, the author moves between theory and analysis, using the music itself to suggest theoretical models which are then tested, tried, broken and mended in the analyses. Temperley aims for an increased understanding of the style to inform his analysis of individual rock pieces. The main analytical case studies are therefore concentrated towards the end of the book, where analysis becomes a form of theory‐in‐practice. He sets out his stall wonderfully in the introduction, taking the opportunity to contextualise his full approach, dealing upfront with potentially controversial issues

Journal

Music AnalysisWiley

Published: Oct 1, 2023

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