DOCSLIB.ORG

The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, The The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, the Structure of Blue Tonality, and the Blue Tonality Shift A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Music Zachary J. Quillen April 2021 © 2021 Zachary J. Quillen. All Rights Reserved. 2 This thesis titled The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, the Structure of Blue Tonality, and the Blue Tonality Shift by ZACHARY J. QUILLEN has been approved for the School of Music and the College of Fine Arts by Ciro Scotto Professor of Music Theory Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract QUILLEN, ZACHARY J., M.M., April 2021, Music Theory The Relationship Between the Melodic-Harmonic Divorce, the Structure of Blue Tonality, and the Blue Tonality Shift Director of Thesis: Ciro Scotto This thesis proposes an alternative explanation for the melodic-harmonic divorce cited in the blues-based examples from David Temperley’s “The Melodic-Harmonic ‘Divorce’ in Rock” and Drew Nobile’s “Counterpoint in Rock Music: Unpacking the ‘Melodic-Harmonic Divorce.’” To support this argument, I will synthesize, adapt, and expand the work of Gerhard Kubik, Peter Van Der Merwe, Jeff Todd Titon, and Nicholas Stoia in order to define the basic tenets of blue tonality. I will then contrast those principles with those of Western common practice tonality (Bach to Brahms) in order to develop a system that demonstrates when a blue tonality shift becomes the more appropriate model for a musical passage rather than melodic-harmonic divorce. I will conclude by presenting analyses of the following blues-based songs using the blue tonality shift system: 1. “Jumpin’ Jack Flash” by The Rolling Stones 2. “Rockin’ Me Baby” by The Steve Miller Band 3. “Takin’ Care of Business” by Bachman Turner Overdrive 4. “When a Man Loves a Woman” by Percy Sledge 5. “Rollin’ & Tumblin” by Muddy Waters 6. “Baby, You Can Drive My Car” by The Beatles 4 Dedication To the energy that connects us all, thank you for being the God of second chances. To my mother, Sue, thank you for teaching me to eat with a spoon. 5 Acknowledgments Dr. Reilly and Dr. Wetzel: Thank you for your patience. Dr. Scotto: Thank you for your time and counsel. 6 Table of Contents Page Abstract ............................................................................................................................... 3 Dedication ........................................................................................................................... 4 Acknowledgments............................................................................................................... 5 List of Figures ..................................................................................................................... 8 Introduction ....................................................................................................................... 12 Chapter 1: A Review and Critique of Melodic-Harmonic Divorce .................................. 16 1.01 Winkler Observes a Shift in Harmonic Loyalty ................................................. 16 1.02 Allen Moore Introduces the Term, Divorce ........................................................ 18 1.03 Temperley Introduces “Melodic-Harmonic Divorce” and its Conditions .......... 19 1.04 Nobile Clarifies the Term, Melodic-Harmonic Divorce ..................................... 22 1.05 Nobile’s Three Types of Melodic-Harmonic Divorce ........................................ 22 1.06 A Quick Summary of the Concept ...................................................................... 30 1.07 The Problem with their Blues-Based Examples/Theoretical Discrepancies ....... 31 1.08 Historical Contextualization of Blues-Based Rock Bands ................................. 33 1.09 Some Real Cases and Some Debatable Cases of Melodic-Harmonic Divorce .. 36 1.10 Conclusion .......................................................................................................... 40 Chapter 2: The Structure of Blue Tonality and the 025 Middle-Tonic Ladder-of-Thirds Modal Frame ..................................................................................................................... 42 2.01 Introduction ......................................................................................................... 42 2.02 Blue Notes according to Van Der Merwe ........................................................... 42 2.03 Blue Notes vs Blue Harmony ............................................................................. 48 2.04 Blue Tonality ...................................................................................................... 49 2.05 Concepts of Blue Tonality Defined .................................................................... 50 2.06 How Blue Tonality Differs from Common Practice Tonality ............................ 59 2.07 My Synthetic Approach .................................................................................... 102 2.08 Structural Features that Indicate a Blue Tonality Shift ..................................... 108 Chapter 3: An Analysis of Temperley and Nobile’s Blues-Based Rock Examples Through the Lens of Blue Tonality ................................................................................. 110 3.01 Introduction ....................................................................................................... 110 3.02 Analysis of “Jumpin Jack Flash” by The Rolling Stones ................................. 110 3.03 Analysis of “Rockin’ Me Baby” by The Steve Miller Band ............................ 114 7 3.04 Analysis of “Takin’ Care of Business” by Bachman Turner Overdrive ........... 118 3.05 Analysis of “When a Man Loves a Woman” by Percy Sledge ......................... 121 3.06 Analysis of “Rollin’ & Tumblin’” by Muddy Waters ...................................... 123 3.07 Analysis of “Baby, You Can Drive My Car” by The Beatles .......................... 125 3.08 Conclusion ........................................................................................................ 128 Bibliography ................................................................................................................... 130 8 List of Figures Page Figure 1, Diagram illustrating harmonic stratification. .................................................... 17 Figure 2, “The Entertainer” by Scott Joplin, mm. 13-16 (Winkler’s reduction). ............. 17 Figure 3, “Roseland Shuffle” by Count Basie (Winkler’s reduction). ............................. 17 Figure 4, “Somebody Walkin’ in my House” by Howlin Wolf (Moore’s transcription). 18 Figure 5, “Goin’ Down Slow” by Howlin’ Wolf (Moore’s transcription). ...................... 18 Figure 6, Common types of non-chord tones.................................................................... 19 Figure 7, “Jumpin’ Jack Flash” by The Rolling Stones, verse (Temperley’s transcription). ........................................................................................................................................... 20 Figure 8, “Jumpin’ Jack Flash” by The Rolling Stones, chorus (Temperley’s transcription). .................................................................................................................... 21 Figure 9, “Smoke on the Water” by Deep Purple, verse (Temperley’s transcription). .... 21 Figure 10, “Smoke on the Water” by Deep Purple, chorus (Temperley’s transcription). 21 Figure 11, Common practice approach to melodic and harmonic embellishments (Nobile’s figure)................................................................................................................ 23 Figure 12, “Jumpin’ Jack Flash” by The Rolling Stones, verse (Nobile’s transcription). 24 Figure 13, “Rock’n’Me” by The Steve Miller Band, verse (Nobile’s transcription and reduction). ......................................................................................................................... 25 Figure 14, “Rock’n’Me” by The Steve Miller Band, chorus 1 & 2 (Nobile’s transcription). .................................................................................................................... 25 Figure 15, “Jane Says” by Jane’s Addiction, verse (Nobile’s transcription). ................... 27 Figure 16, “Jane Says” by Jane’s Addiction, bridge (Nobile’s transcription). ................. 27 Figure 17, “Call Me Maybe” by Carly Rae Jepsen, chorus with popular reharmonizations (Nobile’s transcription). .................................................................................................... 28 Figure 18, “Nowhere Man” by The Beatles, verse (Nobile’s transcription/reduction). ... 29 Figure 19, “You Learn” by Alanis Morissette, chorus (Nobile’s transcription/reduction). ........................................................................................................................................... 30 Figure 20, “Sunday Morning” by Maroon 5, chorus (Nobile’s transcription/reduction). 30 Figure 21, “Rock and Roll Music” by Chuck Berry, verse (Stephenson’s transcription). 33 Figure 22, “Funk #49” by The James Gang, chorus (Hal Leonard transcription) ............ 36 Figure 23, “Still Fighting It” by Ben Folds, verse (Nobile’s transcription). .................... 36 Figure 24, “Still Fighting it” by Ben Folds, verse (Nobile’s reduction). .......................... 37 Figure 25, “The Scientist” by Coldplay, verse (Nobile’s transcription/reduction)..........
Load more

Recommended publications
  • Music Perception in Historical Audiences: Towards Predictive Models of Music Perception in Historical Audiences
    journal of interdisciplinary music studies 2014-2016, volume 8, issue 1&2, art. #16081204, pp. 91-120 open peer commentary article Music perception in historical audiences: Towards predictive models of music perception in historical audiences Marcus T. Pearce1 and Tuomas Eerola2 1Queen Mary University of London, London E1 4NS 2Durham University, Durham DH1 3RL Background in Historical Musicology. In addition to making inferences about historical performance practice, it is interesting to ask questions about the experience of historical listeners. In particular, how might their perception vary from that of present-day listeners (and listeners at other time points, more generally) as a function of the music to which they were exposed throughout their lives. Background in Music Cognition. To illustrate the approach, we focus on the cognitive process of expectation, which has long been of interest to musicians and music psychologists, partly because it is thought to be one of the processes supporting the induction of emotion by music. Recent work has established models of expectation based on probabilistic learning of statistical regularities in the music to which an individual is exposed. This raises the possibility of developing simulations of historical listeners by training models on the music to which they might have been exposed. Aims. First, we aim to develop a framework for creating and testing simulated perceptual models of historical listeners. Second, we aim to provide simple but concrete illustrations of how the simulations can be applied in a preliminary approach. These are intended as illustrative feasibility studies to provide a springboard for further discussion and development rather than fully fledged experiments in their own right.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Who Reveled in the Blues-Rock of Such Groups As the Stones and Cream Were Often Unaware of the Man Responsible for the Songs and Th E Sound
    Rock audiences who reveled in the blues-rock of such groups as the Stones and Cream were often unaware of the man responsible for the songs and th e sound. The Poet Laureate of the Blues, he championed the blues and took the first live blues music to Europe. here never was anybody quite like musicians listened to the Chess recordings, adapted the Willie Dixon. The first thing you saw songs to their own high-powered sensibilities, and so when you met him was that huge grin began the blues revival. atop the larger-than-life body; his enor­ A short list of Willie Dixon’s compositions, and a few mous personal warmth, combined with of the artists who covered them, demonstrates the depth Tan inexhaustible fund of street-smart music business wis­ and breadth of his musical influence. As a rule the chain dom and a tireless devotion to promoting awareness of the of discovery was: first the song would be recorded by an blues, won him friends and admirers everywhere he went. American blues artist; then, perhaps, an English rock Born in 1915 in Vicksburg, Mississippi, his early ca­ group would cover that, and then other American blues or reer included a stint with a gospel group; he was already pop artists, hearing the English cover version, would jump writing songs by age sixteen, and would continue to do so behind it T’m Your Hoochie Coochie Man” was written in until at the end of his life he had over 500 compositions 1953 for Muddy Waters, whose version remains the to his credit.
    [Show full text]
  • "I AM a 1968 Memphis Sanitation MAN!": Race, Masculinity, and The
    LaborHistory, Vol. 41, No. 2, 2000 ªIAMA MAN!º: Race,Masculinity, and the 1968 MemphisSanitation Strike STEVEESTES* On March 28, 1968 Martin LutherKing, Jr. directeda march ofthousands of African-American protestersdown Beale Street,one of the major commercial thoroughfares in Memphis,Tennessee. King’ splane had landedlate that morning, and thecrowd was already onthe verge ofcon¯ ict with thepolice whenhe and other members ofthe Southern Christian LeadershipConference (SCLC) took their places at thehead of the march. The marchers weredemonstrating their supportfor 1300 striking sanitation workers,many ofwhom wore placards that proclaimed, ªIAm a Man.ºAs the throng advanceddown Beale Street,some of the younger strike support- ersripped theprotest signs off the the wooden sticks that they carried. Theseyoung men,none of whomwere sanitation workers,used the sticks to smash glass storefronts onboth sidesof the street. Looting ledto violent police retaliation. Troopers lobbed tear gas into groups ofprotesters and sprayed mace at demonstratorsunlucky enough tobe in range. High above thefray in City Hall, Mayor HenryLoeb sat in his of®ce, con®dent that thestrike wasillegal, andthat law andorder wouldbe maintained in Memphis.1 This march wasthe latest engagement in a®ght that had raged in Memphissince the daysof slaveryÐ acon¯ict over African-American freedomsand civil rights. In one sense,the ª IAm aManºslogan wornby thesanitation workersrepresented a demand for recognition oftheir dignity andhumanity. This demandcaught whiteMemphians bysurprise,because they had always prided themselvesas being ªprogressiveºon racial issues.Token integration had quietly replaced public segregation in Memphisby the mid-1960s, butin the1967 mayoral elections,segregationist candidateHenry Loeb rodea waveof white backlash against racial ªmoderationºinto of®ce.
    [Show full text]
  • Muddy Waters Electric Muddy Mp3, Flac, Wma
    Muddy Waters Electric Muddy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: Electric Muddy Country: Netherlands Style: Electric Blues, Chicago Blues MP3 version RAR size: 1197 mb FLAC version RAR size: 1629 mb WMA version RAR size: 1661 mb Rating: 4.5 Votes: 883 Other Formats: ASF MP4 VOC AC3 XM MP2 MOD Tracklist Hide Credits I Just Want To Make Love To You A1 4:14 Written-By – W. Dixon* I'm Your Hoochie Coochie Man A2 4:41 Written-By – W. Dixon* Let's Spend The Night Together A3 3:07 Written-By – M. Jagger/K. Richards* She's All Right A4 6:44 Written-By – McKinley Morganfield I'm A Man (Manish Boy) B1 3:21 Written-By – McKinley Morganfield Herbert Harper's Free Press B2 4:32 Written-By – Thurston*, Barnes* Tom Cat B3 3:37 Written By – C. Williams Same Thing B4 5:37 Written-By – W. Dixon* Credits Design [Cover] – Studio Richard Gerritse Notes Printed in the Netherlands Barcode and Other Identifiers Rights Society: STEMRA Other versions Category Artist Title (Format) Label Category Country Year Cadet LPS 314, Muddy Electric Mud (LP, Concept, LPS 314, US 1968 LPS-314 Waters Album, Gat) Cadet LPS-314 Concept Cadet Muddy Electric Mud (LP, LPS 314, CC 314 Concept, LPS 314, CC 314 US 1978 Waters Album, RE) Cadet Muddy Electric Mud (CD, CHD-9364 Chess CHD-9364 US 1996 Waters Album, RE) Muddy Electric Mud (CD, *CHD-9364 Chess *CHD-9364 US 1996 Waters Album, RE) CRLS 4542, Muddy Electric Mud (LP, CRLS 4542, Chess, Chess UK 1968 CRLS.4542 Waters Album) CRLS.4542 Related Music albums to Electric Muddy by Muddy Waters Muddy Waters - Screamin' And Cryin' The Blues McKinley Morganfield - A.K.A.
    [Show full text]
  • Love & Wedding
    651 LOVE & WEDDING THE O’NEILL PLANNING RODGERS BROTHERS – THE MUSIC & ROMANCE A DAY TO REMEMBER FOR YOUR WEDDING 35 songs, including: All at PIANO MUSIC FOR Book/CD Pack Once You Love Her • Do YOUR WEDDING DAY Cherry Lane Music I Love You Because You’re Book/CD Pack The difference between a Beautiful? • Hello, Young Minnesota brothers Tim & good wedding and a great Lovers • If I Loved You • Ryan O’Neill have made a wedding is the music. With Isn’t It Romantic? • My Funny name for themselves playing this informative book and Valentine • My Romance • together on two pianos. accompanying CD, you can People Will Say We’re in Love They’ve sold nearly a million copies of their 16 CDs, confidently select classical music for your wedding • We Kiss in a Shadow • With a Song in My Heart • performed for President Bush and provided music ceremony regardless of your musical background. Younger Than Springtime • and more. for the NBC, ESPN and HBO networks. This superb The book includes piano solo arrangements of each ______00313089 P/V/G...............................$16.99 songbook/CD pack features their original recordings piece, as well as great tips and tricks for planning the of 16 preludes, processionals, recessionals and music for your entire wedding day. The CD includes ROMANCE: ceremony and reception songs, plus intermediate to complete performances of each piece, so even if BOLEROS advanced piano solo arrangements for each. Includes: you’re not familiar with the titles, you can recognize FAVORITOS Air on the G String • Ave Maria • Canon in D • Jesu, your favorites with just one listen! The book is 48 songs in Spanish, Joy of Man’s Desiring • Ode to Joy • The Way You divided into selections for preludes, processionals, including: Adoro • Always Look Tonight • The Wedding Song • and more, with interludes, recessionals and postludes, and contains in My Heart • Bésame bios and photos of the O’Neill Brothers.
    [Show full text]
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Song As Literature in Late Medieval Italy Lauren Lambert Jennings A
    TRACING VOICES: SONG AS LITERATURE IN LATE MEDIEVAL ITALY Lauren Lambert Jennings A DISSERTATION in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2012 Supervisor of Dissertation Emma Dillon, Professor of Music and Chair of the Department Graduate Group Chairperson Timothy Rommen, Associate Professor of Music and Director of Graduate Studies Dissertation Committee Emily Dolan, Assistant Professor of Music Kevin Brownlee, Professor of Romance Languages Fabio Finotti, Mariano DiVito Professor of Italian Studies Tr acing Voices: Song as Literature in Late Medieval Italy © 2012 Lauren Lambert Jennings iii A cknowledgement I owe a deep debt of gratitude to all who have offered me guidance and assistance throughout my graduate studies at the University of Pennsylvania. First and foremost, this project could never have come to fruition without the support and encouragement of my advisor, Emma Dillon, who took me under her wing the moment I arrived in Philadelphia. Her seminars sparked my interest in the study of manuscripts as material objects and were the starting point for this project. I am especially grateful for the guidance she has offered throughout the dissertation process, reading drafts of the proposal, grant applications, and chapters. Her suggestions and comments have pushed me to clarify my thoughts and to investigate questions I might otherwise have left aside. The rest of my committee deserves recognition and many thanks as well. Emily Dolan has been an invaluable mentor as both a scholar and a teacher throughout my time at Penn. Outside of the music department, I am indebted to Kevin Brownlee for his constant support of my work and for his seminars, which helped to shape the literary side of my dissertation, as well as for his assistance with the translations in Chapter 1.
    [Show full text]
  • Music 6581 Songs, 16.4 Days, 30.64 GB
    Music 6581 songs, 16.4 days, 30.64 GB Name Time Album Artist Rockin' Into the Night 4:00 .38 Special: Anthology .38 Special Caught Up In You 4:37 .38 Special: Anthology .38 Special Hold on Loosely 4:40 Wild-Eyed Southern Boys .38 Special Voices Carry 4:21 I Love Rock & Roll (Hits Of The 80's Vol. 4) 'Til Tuesday Gossip Folks (Fatboy Slimt Radio Mix) 3:32 T686 (03-28-2003) (Elliott, Missy) Pimp 4:13 Urban 15 (Fifty Cent) Life Goes On 4:32 (w/out) 2 PAC Bye Bye Bye 3:20 No Strings Attached *NSYNC You Tell Me Your Dreams 1:54 Golden American Waltzes The 1,000 Strings Do For Love 4:41 2 PAC Changes 4:31 2 PAC How Do You Want It 4:00 2 PAC Still Ballin 2:51 Urban 14 2 Pac California Love (Long Version 6:29 2 Pac California Love 4:03 Pop, Rock & Rap 1 2 Pac & Dr Dre Pac's Life *PO Clean Edit* 3:38 Promo Only Rhythm Radio December 2006 2Pac F. T.I. & Ashanti When I'm Gone 4:20 Away from the Sun 3 Doors Down Here Without You 3:58 Away from the Sun 3 Doors Down Bailen (Reggaeton) 3:41 Tropical Latin September 2002 3-2 Get Funky No More 3:48 Top 40 v. 24 3LW Feelin' You 3:35 Promo Only Rhythm Radio July 2006 3LW f./Jermaine Dupri El Baile Melao (Fast Cumbia) 3:23 Promo Only - Tropical Latin - December … 4 En 1 Until You Loved Me (Valentin Remix) 3:56 Promo Only: Rhythm Radio - 2005/06 4 Strings Until You Love Me 3:08 Rhythm Radio 2005-01 4 Strings Ain't Too Proud to Beg 2:36 M2 4 Tops Disco Inferno (Clean Version) 3:38 Disco Inferno - Single 50 Cent Window Shopper (PO Clean Edit) 3:11 Promo Only Rhythm Radio December 2005 50 Cent Window Shopper
    [Show full text]
  • Millennials Are Creating Unsafe Conditions on US Roads
    Economic Research: Millennials Are Creating Unsafe Conditions On U.S. Roads--But Not In The Way You Might Think Credit Market Services: Beth Ann Bovino, U.S. Chief Economist, New York (1) 212-438-1652; [email protected] Secondary Contact: Geoffrey E Buswick, Boston (1) 617-530-8311; [email protected] Table Of Contents Road To Nowhere (Baby, You Can) Drive My Car Little Deuce Coupe Freeway Of Love Go Your Own Way No Particular Place To Go I Can't Drive 55 WWW.STANDARDANDPOORS.COM/RATINGSDIRECT OCTOBER 19, 2015 1 1466580 | 302229998 Economic Research: Millennials Are Creating Unsafe Conditions On U.S. Roads--But Not In The Way You Might Think As banks, retailers, and consumer products companies continue their well-documented scramble to court so-called Millennials, the lifestyle choices of this newly adult generation are having a profound effect on a lesser-explored area of the U.S. economy: infrastructure. In the simplest terms, Millennials (which Pew Research defines as Americans born from 1982-2000, and called Generation Y by some) are driving less than older motorists did when they came of age--and when they do get behind the wheel, they are generally in smaller, more fuel-efficient cars. This, in turn, has curbed revenues from the federal gasoline tax, the primary source of funding for the Federal Highway Trust Fund, which is the backbone of the country's surface transportation infrastructure. This drop in funds available to construct and repair the country's infrastructure could, in Standard & Poor's Ratings Services' view, weigh on growth prospects for U.S.
    [Show full text]
  • Community Survey Regional Community Transportation Needs Assessment
    COMMUNITY SURVEY REGIONAL COMMUNITY TRANSPORTATION NEEDS ASSESSMENT MARCH 2017 Prepared By: TABLE OF CONTENTS Highlights ..........................................................................................................................................1 Overview ...........................................................................................................................................2 Sampling Approach ....................................................................................................................................... 2 Sampling Demographics ............................................................................................................................... 3 Park and Ride Services .......................................................................................................................6 Q3. Is Park and Ride Bus Service Located in Your Area? .............................................................................. 6 Q4. If yes, do you use Park and Ride service? .............................................................................................. 6 Q5. If yes, how often? .................................................................................................................................. 7 Q6. What are the primary strengths of Park and Ride service? .................................................................. 7 Q7. What are the main weaknesses of Park and Ride service? ................................................................... 9 Q8.
    [Show full text]
  • La Caccia Nell'ars Nova Italiana
    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.
    [Show full text]