A corpus analysis of rock harmony
In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the ‘500 Greatest Songs of All Time’; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 song...
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| Published in | Popular music Vol. 30; no. 1; pp. 47 - 70 |
|---|---|
| Main Authors | , |
| Format | Journal Article |
| Language | English |
| Published |
Cambridge, UK
Cambridge University Press
01.01.2011
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| Subjects | |
| Online Access | Get full text |
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| Abstract | In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the ‘500 Greatest Songs of All Time’; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time. |
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| AbstractList | In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the '500 Greatest Songs of All Time'; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time. In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the ‘500 Greatest Songs of All Time’; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time. In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the '500 Greatest Songs of All Time'; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time. (Author abstract) In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the '500 Greatest Songs of All Time'; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time. [PUBLICATION ABSTRACT] |
| Author | de Clercq, Trevor Temperley, David |
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| References | Larkin (S026114301000067X_ref12) 2003 Huron (S026114301000067X_ref11) 2006 Holm-Hudson (S026114301000067X_ref10) 2002 Covach (S026114301000067X_ref5) 1997 S026114301000067X_ref1 S026114301000067X_ref16 S026114301000067X_ref15 S026114301000067X_ref3 S026114301000067X_ref9 Temperley (S026114301000067X_ref25) 2007b Miller (S026114301000067X_ref14) 1980 Burns (S026114301000067X_ref4) 2008 S026114301000067X_ref18 Everett (S026114301000067X_ref6) 2004 S026114301000067X_ref21 Schoenberg (S026114301000067X_ref20) 1969 Moore (S026114301000067X_ref17) 2001 S026114301000067X_ref22 Temperley (S026114301000067X_ref23) 2001 S026114301000067X_ref24 Everett (S026114301000067X_ref7) 2008a Everett (S026114301000067X_ref8) 2008b S026114301000067X_ref27 S026114301000067X_ref26 Middleton (S026114301000067X_ref13) 1990 (S026114301000067X_ref19) 2004; 963 Brown (S026114301000067X_ref2) 1997 Williams (S026114301000067X_ref28) 1993 |
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| SubjectTerms | Contrapuntal motion Corpus analysis Major chords Minor chords Music history Musical chords Musical intervals Musicology Rock music Roman numerals Statistical analysis Tonal centrism Tonal harmony Tonal theory |
| Title | A corpus analysis of rock harmony |
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