Writing Wrong Notes

Chromatic Clashes in the Music of Tune-Yards

Datos Bibliográficos

ID15006183
AutoresAndrew Conklin (University of the Pacific, autor de correspondencia)
Año2019
Volumen25
Número3
Fecha de publicación2019-09-01
Open AccessSí
TipoARTICLE
RevistaMusic Theory Online (JOURNAL)
Identificadores de la revistaISSN: 1067-3040 • E-ISSN: 1067-3040
EditorialSociety for Music Theory (PUBLISHER • US)
DOI10.30535/mto.25.3.1
OpenAlexW2990396700
IdiomaEN
Citas recibidas1
Referencias citadas18

This article analyzes the pitch language of Tune-Yards. Like many of its peers, Tune-Yards uses chromaticism to differentiate itself from the mainstream. Unlike its fellow post-millennial experimental pop bands, however, Tune-Yards primarily favors loop-derived compositional techniques that generate chromatic clashes between two or more musical layers. Tune-Yards is also noteworthy for the pervasiveness and variety of chromatic clashes throughout its recorded catalog. This essay presents three of Tune-Yards’ layer-based compositional techniques — Caught in the Looper , Chromatically Inflected Melody , and Accompaniment-Derived Chromaticism — and examines the ways in which they interact with intonation, timbre, lyrics, and form

Acoustics · Art · Chromatic scale · Linguistics · Literature · Lyrics · Mainstream · Musical · Physics · Speech recognition · Timbre · Visual arts · Yard · Communication · Computer Science · Music History and Culture · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy · Psychology · Artificial Intelligence

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