Neo-Riemannian Theory and the Analysis of Pop-Rock Music - jstor

“Creep” uses the guitar chords in Example 7(a), G , B ,. C , C- , which may be heard in G major as I–III♯–IV–iv. The chords act as an ostinato, creating a musical ...

Neo-Riemannian Theory and the Analysis of Pop-Rock Music - jstor - Related pdf Documents

Neo-Riemannian Theory and the Analysis of Pop-Rock Music - jstor

“Creep” uses the guitar chords in Example 7(a), G , B ,. C , C- , which may be heard in G major as I–III♯–IV–iv. The chords act as an ostinato, creating a musical ...

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“Creep” uses the guitar chords in Example 7(a), G , B ,. C , C- , which may be heard in G major as I–III♯–IV–iv. The chords act as an ostinato, creating a musical ...

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the incipient anti-Spice Girls backlash, especially on the Inte where curious ... of the duo's lyrics and the cool, technologically hip image they project in live perfor- ...

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works by Queen, Nina Hagen, Klaus Nomi and Malcolm McLaren that employ specific instances of operatic vocality or borrowing. Such opera-rock fusions are.

Sound and Moving Image in the Rock Music Documentaries of ... - jstor

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