Skip to main content

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. “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, 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