Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
ANALYTICAL APPROACHES
form
Covach, John. “Form in Rock Music: A Primer.” Engaging Music, ed. Deborah Stein. Oxford University Press,
2004.
Covach, John. “From ‘Craft’ to ‘Art’: Formal Structure in the Music of the Beatles.” Reading the Beatles:
Cultural Studies, Literary Criticism, and the Fab Four, ed. Kenneth Womack and Todd F. Davis, 37-54.
State University of New York Press, 2006.
McClary, Susan. Conventional Wisdom: The Content of Musical Form. University of California Press, 2001.
Nurmesjarvi, Terhi. “You Need Another Chorus: Problems with Formal Concepts in Popular Music.”
Beatlestudies 2: History, Identity, Authenticity, ed. Yrjo Heinonen, Terhi Nurmesjarvi, Jouni Koskimaki,
Seppo Niemi, and Francis Kiernan, 147-168. University of Jyvaskyla, 2000.
Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1/1 (2004): 29-54.
Spicer, Mark. “Large-Scale Strategy and Compositional Design in the Early Music of Genesis.” Expression in
Pop-Rock Music, 2nd ed., ed. Walter Everett, 313-344.
Zak, Albin. “Rock and Roll Rhapsody: Pop Epics of the 1970s.” Expression in Pop-Rock Music, 2nd ed., ed.
Walter Everett, 345-360.
pitch structures
Bjöenberg, Alf. “On Aeolian Harmony in Contemporary Popular Music.” In Critical Essays in Popular
Musicology, ed. Allan F. Moore, 275-282. Ashgate, 2007.
Bobbitt, Richard. Harmonic Technique in the Rock Idiom: The Theory and Practice of Rock Harmony.
Wadsworth Publishing Co., 1976.
Bronson, Bertrand. “Folksong and the Modes.” Musical Quarterly 32/1 (1946): 37–49.
Burns, Gary. “A Typology of ‘Hooks’ in Popular Records.” Popular Music 6 (1987): 1-20.
Burns, Lori. “Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos’s
‘Crucify.’” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett,
63-92. Routledge, 2008.
Carter, Paul Scott. “Retrogressive Harmonic Motion as Structural and Stylistic Characteristic of Pop-Rock
Music.” Ph.D. dissertation, University of Cincinnati College–Conservatory of Music, 2005.
http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1116202928
Capuzzo, Guy. “Neo-Riemannian Theory and the Analysis of Pop-Rock Music.” Music Theory Spectrum 26/2
(2004): 177-199.
Capuzzo, Guy. “Sectional Tonality and Sectional Centricity in Rock Music.” Forthcoming, Music Theory
Spectrum 31/1 (2009).
Doll, Christopher. “Listening to Rock Harmony.” Ph.D. dissertation, Columbia University, 2007.
Everett, Walter. “Making Sense of Rock’s Tonal Systems.” Music Theory Online 10/4 (2004). Repr. Critical
Essays in Popular Musicology, ed. Allan F. Moore, 301-335. Ashgate, 2007.
http://mto.societymusictheory.org/issues/mto.04.10.4/mto.04.10.4.w_everett.html
Everett, Walter. “A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan.” Music Theory
Spectrum 26 (2004): 201-235.
Forte, Allen. “Harmonic Relations: American Popular Harmonies (1925-1950) and their European Kin.”
Traditions, Institutions, and American Popular Music. Contemporary Music Review 19/1 (2000): 5-36.
Kramarz, Volkmar. Harmonie-Analyse der Rockmusic. Von Folk und Blues zu Rock und New Wave. Schott,
1983.
London, Justin. “One Step Up: A Lesson from Pop Music.” Journal of Music Theory Pedagogy 4/1 (1990):
111-114.
MacDonald, Chris. “Exploring Modal Subversions in Alternative Music.” Popular Music 19/3 (2000): 355-
363.
Moore, Allan. “Patterns of Harmony.” Popular Music 11 (1992): 73-106.
Moore, Allan. “The So-Called ‘Flat 7th’ in Rock,” Popular Music 14 (1995): 185-201.
Morss, Benjamin M. “Pitch-Skipping in Rock Music.” Ph.D. dissertation, University of California at Davis,
2000.
Ricci, Adam. “A ‘Hard Habit to Break’: The Integration of Harmonic Cycles and Voice-Leading Structure in Two
Songs by Chicago.” Indiana Theory Review 21 (2000): 129-146.
Salzman, Eric, and Michael Sahl. Making Changes: A Practical Guide to Vernacular Harmony. Schirmer, 1977.
Temperley, Davy. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26/2 (2007): 323-342.
Weisethaunet, Hans. “Is There Such a Thing as a Blue Note?” Popular Music 20 (2001): 99-116.
Winkler, Peter K. “Toward a Theory of Popular Harmony.” In Theory Only 4/2 (1978), 3-26. Repr. Critical
Essays in Popular Musicology, ed. Allan F. Moore, 251-274. Ashgate, 2007.
rhythmic structures
Baur, Steven. “Ringo Round Revolver: Rhythm, Timbre, and Tempo in Rock Drumming.” Every Sound There
Is: The Beatles’ Revolver and the Transformation of Rock and Roll, ed. Russell Reising, 171-182.
Ashgate, 2002.
Benadon, Fernando. “Slicing the Beat: Jazz Eighth-Notes as Expressive Microrhythm.” Ethnomusicology 50/1
(2006): 73–98.
Brackett, John. “Examining Rhythmic and Metric Practices in Led Zeppelin’s Musical Style. Popular Music
27/1 (2008): 53-76.
Brownell, John. “The Changing Same: Asymmetry and Rhythmic Structure in Repetitive Idioms.” Ph.D.
dissertation, York University, 2003.
Butterfield, Matthew W. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music
Theory Online 12/4 (2006).
http://mto.societymusictheory.org/issues/mto.06.12.4/mto.06.12.4.butterfield.html
Commentary by Fernando Benadon, 13/1 (2007).
http://mto.societymusictheory.org/issues/mto.07.13.1/mto.07.13.1.benadon.html
Response by Butterfield, 13/3 (2007).
http://mto.societymusictheory.org/issues/mto.07.13.3/mto.07.13.3.butterfield.html
Butler, Mark J. “Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic
Dance Music.” Music Theory Online 7.6 (2001).
http://mto.societymusictheory.org/issues/mto.01.7.6/mto.01.7.6.butler.html
Collier, Geoffrey L., and James Lincoln Collier. “Microrhythms in Jazz: A Review of Papers.” Annual Review
of Jazz Studies 8 (1996): 117–139.
Friberg, Anders, and Andreas Sundström. “Swing Ratios and Ensemble Timing in Jazz Performance: Evidence
for a Common Rhythmic Pattern.” Music Perception 19/3 (2002): 333-349.
Keil, Charles. “The Theory of Participatory Discrepancies: A Progress Report.” Ethnomusicology 39/1 (1995):
1–19.
Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.
McClary, Susan. “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture.” Audio
Culture: Readings in Modern Music, ed. Christoph Cox and Daniel Warner, 289-298. Continuum, 1994.
Neal, Jocelyn R. “The Metric Makings of a Country Hit.” Reading Country Music: Steel Guitars, Opry Stars,
and Honky-Tonk Bars, ed. Cecelia Tichi, 322-337. Duke University Press, 1998.
Nelson, Angela M. S., ed. “This is How We Flow”: Rhythm in Black Cultures. University of South Carolina
Press, 1999.
Prögler, Joseph A. “Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section.”
Ethnomusicology 39/1 (1995): 21–54.
Stewart, Alexander. “Funky Drummer: New Orleans, James Brown, and the Rhythmic Transformation of
American Popular Music.” Popular Music 19/3 (2000): 293-318.
Stewart, Michael. “The Feel Factor: Music with Soul.” Electronic Musician, October 1987, 57–65.
Temperley, David. “Syncopation in Rock: A Perceptual Perspective.” Popular Music 18/1 (1999): 19-40.
Yako, Masato. “Classification of Rhythm Patterns.” Popular Music: Intercultural Interpretations (IASPM 9th
International Conference), ed. Mitsui Toru, 398-411. Kanazawa University, 1998.
vocal expression
Antelyes, Peter. “Red Hot Mamas: Bessie Smith, Sophie Tucker, and the Ethnic Maternal Voice in American
Popular Song.” Embodied Voices: Representing Female Vocality in Western Culture, ed Leslie C. Dunn
and Nancy A. Jones, 212-229. Cambridge University Press, 1994.
Auner, Joseph. “‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music. Journal of the Royal
Musical Association 128/1 (2003): 98-122.
Bauer, William. “Billie Holiday and Betty Carter: Emotion and Style in the Jazz Vocal Line.” Annual Review
of Jazz Studies 6 (1993): 99-152.
Burns, Lori. “Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and
Louis Armstrong.” Music Theory Online 11/3 (2005).
http://mto.societymusictheory.org/issues/mto.05.11.3/mto.05.11.3.burns.html
Goldmark, Daniel. “Stuttering in American Popular Song, 1890-1930.” Sounding Off: Theorizing Disability in
Music, Neil Lerner and Joseph N. Straus, eds., 91-105. Routledge, 2006.
LaCasse, Serge. “‘Listen to My Voice’: The Evocative Power of Vocal Staging in Recorded Rock Music and
Other Forms of Vocal Expression.” Ph.D. dissertation, University of Liverpool, 2000.
http://www.mus.ulaval.ca/lacasse/texts/THESIS.pdf
Middleton, Richard. “Rock Singing.” The Cambridge Companion to Singing, ed. John Potter, 28-41. Cambridge
University Press, 2000.
Rischar, Richard Allen. “One Sweet Day: Vocal Ornamentation and Style in the African-American Popular
Ballad, 1991-1995. Ph.D. dissertation, University of North Carolina at Chapel Hill, 2000.
Wise, Timothy. “Yodel Species: A Typology of Vocal Effects in Popular Music Vocal Styles.” Radical
Musicology 2 (2007). http://www.radical-musicology.org.uk/2007/Wise.htm
blues-rock
Bane, Michael. White Boy Singin’ the Blues: the Black Roots of White Rock. Da Capo Press, 1992.
Headlam, Dave. “Blues Transformations in the Music of Cream.” Understanding Rock, ed. John Covach and
Graeme M. Boone, 59-92. Oxford University Press, 1997.
Headlam, Dave. “Does the Song Remain the Same?: Questions of Authorship and Identification in the Music of
Led Zeppelin.” Concert Music, Rock, and Jazz since 1945, ed. Elizabeth West Marvin and Richard
Herrmann, 313-363. University of Rochester Press, 1995.
Till, Rupert. “The Blues Blueprint: The Blues in the Music of the Beatles, the Rolling Stones, and Led
Zeppelin.” Cross the Water Blues: African-American Music in Europe, ed. Neil A. Wynn, 183-201.
University Press of Mississippi, 2007.
classical influences
Covach, John, and Walter Everett, eds. American Rock and the Classical Music Tradition. Contemporary
Music Review 18/4 (2000).
Everett, Walter. “The Learned vs. the Vernacular in the Songs of Billy Joel.” American Rock and the Classical
Music Tradition. Contemporary Music Review 18/4 (2000): 105-129.
Fink, Robert. “The Story of ORCH5, or the Classical Ghost in the Hip-Hop Machine.” Popular Music 24/3
(2005): 339-356.
Josephson, Nora S. “Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive
Rock.” Musical Quarterly 76/1 (1992): 67-92.
Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University
Press, 1997.
Macan, Edward. “‘The Spirit of Albion’ in Twentieth-Century Popular Music: Vaughan Williams, Holst, and
the Progressive-Rock Movement.” Music Review 53/2 (1992): 100-125.
McLeod, Ken. “Bohemian Rhapsodies: Operatic Influences on Rock Music.” Popular Music 20/2 (2001): 189-
203.
country
Brackett, David. “When You’re Lookin’ at Hank (You’re Lookin’ at Country).” Interpreting Popular Music,
75-107. University of California Press, 2000.
Fox, Aaron. Real Country: Music and Language in Working-Class Culture. Duke University Press, 1994.
Jaret, Charles. “Characteristics of Successful and Unsuccessful Country Songs.” All That Glitters: Country
Music in America, ed. George H. Lewis, 174-185. Bowling Green State University Popular Press, 1993.
Lewis, George H. All That Glitters: Country Music in America. Bowling Green University Press, 1993.
McCusker, Kristine M., and Diane Pecknold, eds. A Boy Named Sue: Gender and Country Music. University
Press of Mississippi, 2004.
Neal, Jocelyn R. “Country-Pop Formulae and Craft: Shania Twain’s Crossover Appeal.” Expression in Pop-
Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 285-311. Routledge, 2008.
Neal, Jocelyn R. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music
Theory Spectrum 29/1 (2007): 41-72.
Neal, Jocelyn R. “Song Structure Determinants: Poetic Narrative, Phrase Structure, and Hypermeter in the
Music of Jimmie Rodgers.” Ph.D. dissertation, Eastman School of Music, 2002.
Neal, Jocelyn R. The Songs of Jimmie Rodgers: A Legacy in Country Music. Indiana University Press, 2009.
Malone, Bill C. Country Music, U.S.A, 2nd rev. ed. University of Texas Press, 2002.
Malone, Bill C. “Elvis, Country Music, and the South.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 123-
134. University Press of Mississippi, 1980.
Tichi, Cecelia, ed. Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars. Duke University
Press, 1998.
cover versions
Awkward, Michael. Soul Covers: Rhythm and Blues Remakes and the Struggle for Artistic Identity (Aretha
Franklin, Al Green, Phoebe Snow). Duke University Press, 2007.
Bowman, Rob. “The Determining Role of Performance in the Articulation of Meaning: The Case of ‘Try a
Little Tenderness.’” Analyzing Popular Music, ed. Allan F. Moore, 103-130. Cambridge University
Press, 2003.
Burns, Lori, and Alyssa Woods. “Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and
Violence in Covers of Billie Holiday and Eminem.” Music Theory Online 10/2 (2004).
http://mto.societymusictheory.org/issues/mto.04.10.2/mto.04.10.2.burns_woods.html
Griffiths, Dai. “Cover Versions and the Sound of Identity in Motion.” Popular Music Studies, ed. David
Hesmondhalgh and Keith Negus, 51-64. Oxford University Press, 2002.
Holm-Hudson, Kevin. “Your Guitar, It Sounds So Sweet and Clear: Semiosis in Two Versions of ‘Superstar.’”
Music Theory Online 8/4 (2002). http://mto.societymusictheory.org/issues/mto.02.8.4/mto.02.8.4.holm-
hudson.html
Plasketes, George M., ed. “Like a Version: Cover Songs in Popular Music.” Popular Music and Society 28/2
(2005): 137-248.
Schneider, Thomas A. “Blues Cover Songs: The Intersection of Blues and Rock on the Popular Music Charts
(1955-1995).” Ph.D. dissertation, University of Memphis, 2001.
Weinstein, Deena. “The History of Rock’s Pasts through Rock Covers.” Mapping the Beat: Popular Music
and Contemporary Theory, ed. Andrew Herman, John M. Sloop, and Thomas Swiss, 137-151.
Blackwell, 1997.
White, John. “Radio Formats and the Transformation of Musical Style: Codes and Cultural Values in the
Remaking of Tunes. College Music Symposium 37 (1997): 1-12.
dance music
Bradby, Barbara. “Sampling Sexuality: Gender, Technology and the Body in Dance Music.” Popular Music,
12/2 (1993): 155-176.
Butler, Mark. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana
University Press, 2006.
Garcia, Luis-Manuel. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music
Theory Online 11/4 (2005).
http://mto.societymusictheory.org/issues/mto.05.11.4/mto.05.11.4.garcia.html
Gilbert, Jeremy, and Ewan Pearson. Discographies: Dance, Music, Culture and the Politics of Sound.
Routledge, 1999.
Goldschmitt, Kariann Elaine. “Foreign Bodies: Innovation, Repetition, and Corporeality in Electronic Dance
Music.” M.A. thesis, University of California at San Diego, 2004.
Hawkins, Stan. “Feeling the Beat Come Down: House Music as Rhetoric.” Analyzing Popular Music, ed.
Allan F. Moore, 80-102. Cambridge University Press, 2003.
Tagg, Philip. Fernando the Flute: Analysis of Musical Meaning in the ABBA Mega-Hit. Institute of Popular
Music, 1992.
Tagg, Philip. “From Refrain to Rave: The Decline of Figure and the Rise of Ground.” Popular Music 13/2
(1994): 209-222. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 171-184.
folk (Anglo-American)
Bronson, Bertrand. “Folksong and the Modes,” Musical Quarterly 32/1 (1946): 37–49.
Burman-Hall, Linda C. “Southern American Folk Fiddle Styles.” Ethnomusicology 19/1 (1975): 47-65.
Cazden Norman. “A Simplified Mode Classification for Traditional Anglo-American Song Tunes.” Yearbook of
the International Folk Music Council 3 (1971): 45–78.
Response by Betrand Bronson, “Are the Modes Outmoded?” Yearbook of the International Folk Music
Council 4 (1972): 23-31.
Cohen, Ronald D. Folk Music: The Basics. Routledge, 2006.
Cook, Harold. Shaker Music: A Manifestation of American Folk Culture. Bucknell University Press, 1973.
Cowdery, James. The Melodic Tradition of Ireland. Kent State University, 1990.
Gelbart, Matthew B. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to
Wagner. Cambridge University Press, 2007.
Seeger, Ruth Crawford. The Music of American Folk Song and Selected Other Writings on American Folk
Music, ed. Larry Polansky. University of Rochester Press, 2001.
funk
Danielsen, Anne. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Wesleyan
University Press, 2006.
Hughes, Tim. “Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder.” Ph.D. dissertation,
University of Washington, 2003.
<http://www.surrey.ac.uk/Music/NewsGenInfo/AcademicStaff/Hughes/GrooveAndFlow.pdf>
Vincent, Rickey. Funk: The Music, the People, and the Rhythm of the One. St. Martin’s Griffin, 1996.
global pop
Agawu, V. Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. Routledge, 2003.
Androutsopoulos, Jannis K., and Arno Scholz. “Spaghetti Funk: Appropriations of Hip-hop Culture and Rap
Music in Europe.” Popular Music and Society 26/4 (2003): 463-479.
Berger, Harris M. and Michael T. Carroll, eds. Global Pop, Local Language. University Press of Mississippi,
2003.
Collins, John. West African Pop Roots. Temple University Press, 1992.
Fernandez, Raul A. From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006.
Hernandez, Deborah Pacini, Hector Fernandez L'Hoeste, and Eric Zolov, eds. Rockin' Las Americas: The
Global Politics of Rock in Latin/o America. University of Pittsburgh Press, 2004.
Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.
Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and the Focus of Place. Verso, 1997.
Manuel, Peter. Popular Musics of the Non-Western World. Oxford University Press, 1990.
Manabe, Noriko. “Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.”
Ethnomusicology 50/1 (2006): 1-36.
Manabe, Noriko. “Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodríguez’s
Songs.” Revista Transcultural de Música 10 (2006).
Manuel, Peter. Caribbean Currents: Caribbean Music from Rumba to Reggae, 2nd ed. Temple University
Press, 2006.
Meintjes, Louise. “Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning.”
Ethnomusicology 36, no. 1 (Winter 1990): 37-73.
Mitchell, Tony, ed. Global Noise: Rap and Hip-Hop outside the U.S.A. Wesleyan University Press, 2001.
Perrone, Charles, and Christopher Dunn. Brazilian Popular Music and Globalization. University Press of
Florida, 2001.
Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. Oxford
University Press, 1999.
Taylor, Timothy. Global Pop: World Music, World Markets. Routledge, 1997.
Veal, Michael. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan University Press, 2007.
Vila, Pablo. “Argentina's Rock Nacional: The Struggle for Meaning.” Latin American Music Review/Revista
de musica latinoamericana 10/1 (1989): 1-28.
Working Documents: International Conference on African Music and Dance: Problems and Prospects.
Bellagio, 1992.
Yano, Christine R. Tears of Longing: Nostalgia and the Nation in Japanese Popular Song. Harvard University
Asia Center, 2003.
heavy metal
Bayer, Gerd, ed. Heavy Metal Music in Britain. Ashgate, 2009.
Berger, Harris M. “Death Metal Tonality and the Act of Listening.” Popular Music 18/2 (1999): 161-178.
Berger, Harris M. “Horizons of Melody and the Problem of the Self.” In Identity and Everyday Life: Essays in
the Study of Music, Folklore, and Popular Culture, Harris M. Berger and Giovanna P. Del Negro, 43–88.
Wesleyan University Press, 2004.
Berger, Harris M. Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience. Wesleyan
University Press/University Press of New England, 1999.
Berger, Harris M. “The Practice of Perception: Multi-Functionality and Time In the Musical Experiences of
Heavy Metal Drummers in Akron, Ohio.” Ethnomusicology 41/3 (1997): 464-489.
Berger, Harriss M. and Cornelia Fales. “‘Heaviness’ in the Perception of Heavy Metal Guitar Timbres: The
Match of Perceptual and Acoustic Features Over Time.” Wired for Sound: Engineering and
Technologies in Sonic Cultures, ed. Paul D. Greene and Thomas Porcello, 181-197. Wesleyan
University Press, 2004.
Kahn-Harris, Keith. Extreme Metal: Music and Culture on the Edge. Berg, 2007.
Pieslak, Jonathan. “Re-casting Metal: Rhythm and Meter in the Music of Meshuggah.” Music Theory
Spectrum 29/2 (2007): 219-245.
Pillsbury, Glenn T. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge, 2006.
Walser, Robert. “Eruptions: Heavy Metal Appropriations of Classical Virtuosity.” Popular Music 11/3 (1992):
263-308.
Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan
University Press, 1993.
jazz
see also: Jazzforschung/Jazz Research, Annual Review of Jazz Studies, Jazz Perspectives
Berliner, Paul. Thinking in Jazz: The Infinite Art of Improvisation.
Block, Steven. “Pitch-Class Transformation in Free Jazz.” Music Theory Spectrum 12 (1990): 181-202.
Dean-Lewis, Tim. “Playing Outside: Excursions from the Tonality in Jazz Improvisation.” Ph.D. dissertation,
City University of London, 2001.
DeVeaux, Scott. The Birth of Bebop: A Social and Musical History. University of California Press, 1999.
Folio, Cynthia. “An Analysis of Polyrhythm in Selected Jazz Solos.” Concert Music, Rock, and Jazz Since
1945, ed. Elizabeth West Marvin and Richard Hermann, 103-134. University of Rochester Press, 1995.
Haywood, Mark S. “The Harmonic Role of Melody in Vertical and Horizontal Jazz,” Annual Review of Jazz
Studies 5(1991): 109-120.
Järvinen, Topi. “Tonal Hierarchies in Jazz Improvisation.” Music Perception 12 (1995): 415-437.
Larson, Steven. “Musical Forces and Melodic Patterns.” Theory and Practice 22-23 (1997): 55-71.
Larson, Steven. “Musical Forces, Melodic Expectation, and Jazz Melody.” Music Perception 19/3 (2002): 351-
385.
Larson, Steven. “Schenkerian Analysis of Modern Jazz: Questions about Method.” Music Theory Spectrum 20
(1998): 209-241.
Martin, Henry. “Jazz Harmony: A Syntactic Background.” Annual Review of Jazz Studies 4 (1988): 9-30.
Martin, Henry. “Jazz Theory and Analysis: An Introduction and Brief Bibliography.” Zeitschrift der
Gesellschaft für Musiktheorie 2/2–3, Bd. 2 (2005): 169-171.
Martin, Henry. “Jazz Theory: An Overview.” Annual Review of Jazz Studies 8 (1996): 1-17. (special edition
on jazz theory)
Martin, Henry, and Wason, Robert. “Constructing a Post-Modern-Jazz Pedagogy.” Jazzforschung/Jazz
Research 37 (2005): 163-177.
McGowan, James J. “Dynamic Consonance in Selected Piano Performances of Tonal Jazz.” Ph.D. dissertation,
University of Rochester, 2005.
Nettles, Barrie, and Richard Graf. The Chord Scale Theory and Jazz Harmony. Advance Music, 1997.
Potter, Gary M. “Analyzing Improvised Jazz.” College Music Symposium 32 (1992): 143-160.
Potter, Gary M. “The Unique Role of bVII7 in Bebop Harmony.” Jazzforschung/Jazz Research 21 (1989): 35-
47.
Pressing, Jeff. “Pitch Class Set Structures in Contemporary Jazz.” Jazzforschung/Jazz Research 14 (1982):
133-172.
Pressing, Jeff. “Towards an Understanding of Scales in Jazz.” Jazzforschung/Jazz Research 9 (1978): 25–35.
Rohm, Joseph. “Jazz Harmony: Structure, Voicing, and Progression.” Ph.D. dissertation, Florida State
University, 1974.
Salley, Keith. “Beyond Chord-Scale Theory: Realizing a Species Approach to Jazz Improvisation.” Journal of
Music Theory Pedagogy 21 (2007): 101-122.
Satyendra, Ramon. “Analyzing the Unity Within Contrast: Chick Corea's ‘Starlight.’” In Engaging Music, ed.
Deborah Stein, 50–64. Oxford University Press, 2005.
Schuller, Gunther. Early Jazz: Its Roots and Musical Development. Oxford University Press, 1968.
Schuller, Gunther. The Swing Era: The Development of Jazz, 1930-1945. Oxford University Press, 1989.
Steedman, Mark. “A Generative Grammar for Jazz Chord Sequences.” Music Perception 2/1 (1984): 52-77.
Strunk, Steven. “Bebop Melodic Lines: Tonal Characteristics.” Journal of Jazz Studies 6 (1979): 4-53.
Strunk, Steven. “The Harmony of Early Bop: A Layered Approach.” Annual Review of Jazz Studies 3 (1985):
97-120.
Strunk, Steven. “Linear Intervallic Patterns in Jazz Repertory.” Annual Review of Jazz Studies 8 (1996): 63-
115.
Tymoczko, Dmitri. “The Consecutive-Semitone Constraint on Scalar Structure: A Link between Impressionism
and Jazz.” Intégral 11 (1997): 135-179.
Williams, J. Kent. “Archetypical Schemata in Jazz Themes of the Bebop Era.” Annual Review of Jazz Studies
4 (1988): 49-74.
new wave
Cateforis, Theodore. “Are We Not New Wave? Nostalgia, Technology, and Exoticism in Popular Music at the
Turn of the 1980s.” Ph.D. dissertation, State University of New York at Stony Brook, 2000.
Covach, John. “Pangs of History in Late-1970s New-Wave Rock.” Analyzing Popular Music, ed. Allan F.
Moore, 173-195. Cambridge University Press, 2003.
Frew, Tim. The New Wave—Pop of the Early ‘80s. Friedman/Fairfax, 1997.
popular song
Banfield, Stephen. “Popular Song and Popular Music on Stage and Film.” The Cambridge History of
American Music, ed. David Nicholls, 309-344. Cambridge University, 1998.
Berry, David Carson. “Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear
Devices in Selected Song Verses of Irving Berlin," Intégral 13 (1999): 1–62.
Berry, David Carson. “Gambling with Chromaticism? Extra-Diatonic Melodic Expression in the Songs of
Irving Berlin,” Theory and Practice 26 (2001): 21–85.
Berry, David Carson. “The Popular Songwriter as Composer: Mannerisms and Design in the Music of Jimmy
Van Heusen,” Indiana Theory Review 21 (2000): 1–51.
Forte, Allen. The American Popular Ballad of the Golden Era, 1924-50. Princeton University Press, 1995.
Forte, Allen. “Secrets of Melody: Line and Design in the Songs of Cole Porter.” Musical Quarterly 77/4
(1993): 625-647.
Hamm, Charles. “Genre, Performance and Ideology in the Early Songs of Irving Berlin.” Popular Music 13/2
(1994): 143-150.
Hamm, Charles. Yesterdays: Popular Song in America. Norton, 1979.
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