![]() For example, one can attend in time to dominant-tonic relationships established through functional harmony and root movement of fifths. When listening to pop-rock music, a listener can employ several different strategies in order to identify a centric pitch class that represents their perception of the music. Keywords and Phrases: popular music, rock music, centricity, tonality, perception Suggested Citation Introduction Allowing for a “thick” interpretation of a pop-rock song’s pitch center not only celebrates pop-rock’s oft-cited tonal complexity, but also the overlooked complexity of the listening subject. ![]() I use a variety of listening strategies and analytical methods in order to demonstrate and justify multiple centric interpretations that emerge when a listener compares a single instrument’s projected center with others in pop-rock songs. ![]() Adapting Robert Bailey’s term “double-tonic complex,” I refer to songs that exhibit multivalent centers as “multi-centric complexes.” Through several examples I demonstrate how different instruments-such as lead vocals, guitar, keyboards, or bass-can present their own, sometimes competing, centers. Users browsing this forum: 31GeeWhizz ☑️, 4n20 guggers baked in a pie, all day breakfast, Althea, Amblin, badhat, Bartatua, Birds vs Worms, Brother Kenny, burst, chewy, crooked, davideotape, Double McDouble, dylanclub, Executive Producer, Ezekiel Cletus, Flossed Out, fosse, Garland Briggs, gassy, goldmatt, Google, grass tacks, hbb, hilbert, hopped, Hot Carl, HotFingersClub, Hugh, i am rich, inanimate object.In this article, I explore the availability of multiple pitch centers in pop-rock songs that emerge from the application of what John Covach has called “positional listening.” I demonstrate how different methods of listening and analysis have a drastic effect on our interpretation of a song’s pitch center. Return to Aguachile Alley Jump to: Who is online ![]()
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