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• W2301519723 abstract "tendency in recent years to include pop-rock examples in undergraduate tonal-harmony classes. Recent textbooks by Turek (2007), Clendinning and Marvin (2011), Roig-Francoli (2011), and Laitz (2012) all feature excerpts from the pop-rock repertory. At the Society for Music Theory’s annual meeting in Minneapolis in 2011, a panel was convened specifically to discuss the pros and cons of studying classical, as opposed to popular, music in the theory classroom. This trend undoubtedly stems from an attempt to make the subject matter more palatable to today’s students, whose musical backgrounds are increasingly oriented toward pop-rock. Yet by incorporating pop-rock music into the classical harmony classroom, teachers come face to face with some of the fundamental differences between the harmonic idioms of these two styles. Tonal-harmony teachers use pop-rock examples to illustrate not just theoretical concepts dealing specifically with harmony, but a wide array of ideas. For instance, in looking just at one of the above-cited textbooks, Clendinning and Marvin (2011), we find U2’s ‘Miracle Drug’ demonstrating simple meter (30) and Dolly Parton’s ‘I Will Always Love You’ introducing key signatures (55); these songs prepare the way for later harmonic examples, such as Elvis Presley’s ‘Love Me Tender’ and its major II triad (at ‘love me sweet’) functioning as a secondary dominant to V (408). In all these cases, pop-rock songs simply substitute for what would have been classical excerpts in older textbooks. Pop-rock music can also serve as a theoretical topic in and of itself, adding to the total amount of material for professors to teach. Clendinning and Marvin, in addition to peppering their entire text with pop-rock examples, devote a whole chapter to ‘Popular Music’, with sections on extended and altered chords, pentatonic scales, and popular-song phrase structure, among other issues. Theory teachers have long recognized the differences between classical and jazz harmony, as evidenced by jazz commonly having its own separate textbooks and classes. Acknowledgement of the analogous differences between classical and pop-rock harmony (London 1990: 112; Stephenson 2002: 101) presents us with a significant methodological dilemma: assuming we continue to incorporate pop-rock music in the classical harmony classroom and do not give it its own separate course, the question becomes whether we should use pop-rock excerpts only to the extent that they can serve as illustrations of classical idioms, or instead engage pop-rock music on its own terms. If we choose the latter option, and endeavor to move beyond a treatment of pop-rock music that is" @default.
• W2301519723 created "2016-06-24" @default.
• W2301519723 creator A5082893672 @default.
• W2301519723 date "2013-01-01" @default.
• W2301519723 modified "2023-09-23" @default.
• W2301519723 title "Definitions of 'Chord' in the Teaching of Tonal Harmony" @default.
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• W2301519723 doi "https://doi.org/10.7282/t3t1558f" @default.
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