MTO 21.2: Heetderks, Hipster Harmony
Volume 21, Number 2, June 2015 Copyright © 2015 Society for Music Theory Hipster Harmony: The Hybrid Syntax of Seventh Chords in Post-Millennial Rock David J. Heetderks NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.2/mto.15.21.2.heetderks.php KEYWORDS: chromaticism, rock, art rock, experimental rock, experimental pop, progressive rock, Dirty Projectors, Radiohead, Mew, Grizzly Bear, Deerhunter, musical geometry, seventh chords, transformational theory, chromatic harmony ABSTRACT: This article argues that art-rock groups active since 2000 often use chromatic progressions between seventh chords and other chords of four or more notes in order to differentiate themselves from generic rock styles. These groups introduce chromatic progressions through one of three schemas: altering a recurring diatonic progression (a recurring Roman-numeral progression), exploring the voice-leading possibilities of a recurring chord (a magic chord), and exploring the diatonic and chromatic possibilities of a voice-leading motion (a magic voice leading). When a chromatic progression appears, it functions as a large-scale, tonally undetermined alternation between two chords, or as a substitution for a normative progression. Hybrid syntax occurs where progressions arising from the techniques listed above are juxtaposed with common rock progressions. I analyze instances of hybrid syntax in songs by Dirty Projectors, Deerhunter, Mew, Grizzly Bear, and Radiohead. In these songs, chromatic progressions conspire with lyrics, timbre, and texture to convey otherworldliness or ambiguity, supporting the depictions of unusual personae or situations that art-rock groups favor. Received October 2014 Introduction [0.1] Many rock critics recognize that a broad genre of rock music has emerged since around 2000.
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