Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920-1945
Publication
, Journal Article
Stoia, N
Published in: Music Theory Online
August 1, 2010
In American folk and popular music, dissonance frequently functions in ways that cannot be explained by conventional tonal theory. Two types of dissonance—the dropping and hanging thirds—function outside of classical norms, and within the framework of a mode built around the tonic triad that either transposes or remains in place with changes of harmony. The interaction between the mode and harmony influences the large-scale structure of a strophe or other section and the perception of its tension and resolution.
Duke Scholars
Published In
Music Theory Online
ISSN
1067-3040
Publication Date
August 1, 2010
Volume
16
Issue
3
Publisher
Society for Music Theory
Related Subject Headings
- 1904 Performing Arts and Creative Writing
Citation
APA
Chicago
ICMJE
MLA
NLM
Stoia, N. (2010). Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920-1945. Music Theory Online, 16(3).
Stoia, N. “Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920-1945.” Music Theory Online 16, no. 3 (August 1, 2010).
Stoia N. Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920-1945. Music Theory Online. 2010 Aug 1;16(3).
Stoia, N. “Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920-1945.” Music Theory Online, vol. 16, no. 3, Society for Music Theory, Aug. 2010.
Stoia N. Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920-1945. Music Theory Online. Society for Music Theory; 2010 Aug 1;16(3).
Published In
Music Theory Online
ISSN
1067-3040
Publication Date
August 1, 2010
Volume
16
Issue
3
Publisher
Society for Music Theory
Related Subject Headings
- 1904 Performing Arts and Creative Writing