Drew Nobile
Biographic Data
| ID | 1003287 |
|---|---|
| NAME | Drew Nobile |
| GIVEN NAMES | Drew |
| FAMILY NAME | Nobile |
| SIGNATURE | NOBILE D |
| AFFILIATIONS | University of Oregon |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 2 |
Teleology in Verse-Prechorus-Chorus Form, 1965-2020
This article traces a stylistic history of verse-prechorus-chorus form from its inception in mid-1960s rock 'n' roll through the EDM-infused pop of the 2010s. The central argument is that across its various presentations, verse-prechorus-chorus form is based on a consistent teleological structure, which I term thetelos principle. I chronicle this form's history through three style periods: I begin with the 1960s through '80s, over which time vers…
Alanis Morissette's Voices
Combining the slick production of post-grunge rock with raw, feminist lyrics reminiscent of Riot Grrrl punk, Alanis Morissette's 1995 albumJagged Little Pillintroduced a new rock femininity that rippled throughout the late 1990s. As several commentators have discussed, though, Morissette's pop-critical reception as the quintessential "angry white female" overlooks the broad range of social and emotional content presented throughout the album. Thi…
Choruses
This chapter looks at rock’s most expressively significant section: the chorus. The chapter argues that rock’s choruses divide into three general types, differentiated by their harmonic profiles but with distinct lyrical, thematic, and expressive features. Sectional choruses have complete harmonic and thematic structures and are relatively autonomous and separate from the verse; continuation choruses begin off-tonic and combine with the preceding…
Form as Harmony in Rock Music
This book offers a theory of form aimed at rock and pop songs of the 1960s, 1970s, and 1980s. The core claim is that rock form derives from the interaction between thematic design and harmonic structure. Many aspects of a rock song—lyrical structure, instrumental texture, melodic design, etc.—ultimately trace back to the relationship between harmonic trajectory and formal layout. The book begins with a theory of rock harmony rooted in an adaptati…
Interval Permutations
This paper presents a framework for analyzing the interval structure of pitch-class segments (ordered pitch-class sets). An “interval permutation” is a reordering of the intervals that arise between adjacent members of these pitch-class segments. Because pitch-class segments related by interval permutation are not necessarily members of the same set-class, this theory has the capability to demonstrate aurally significant relationships between set…
Form and Voice Leading in Early Beatles Songs
In the early music of the Beatles, form, harmony, and voice leading are intricately related. The most common form of this period-AABA where each A section contains an SRDC (Statement-Restatement-Departure-Conclusion) phrase structure as defined by Walter Everett (2001 and 2009)-carries with it harmonic and melodic implications which allow for the creation of a voice-leading model for this form. This paper examines how this model interacts with va…
Form as Harmony in Rock Music
This book offers a theory of form aimed at rock and pop songs of the 1960s, 1970s, and 1980s. The core claim is that rock form derives from the interaction between thematic design and harmonic structure. Many aspects of a rock song—lyrical structure, instrumental texture, melodic design, etc.—ultimately trace back to the relationship between harmonic trajectory and formal layout. The book begins with a theory of rock harmony rooted in an adaptati…
Form and Voice Leading in Early Beatles Songs
In the early music of the Beatles, form, harmony, and voice leading are intricately related. The most common form of this period-AABA where each A section contains an SRDC (Statement-Restatement-Departure-Conclusion) phrase structure as defined by Walter Everett (2001 and 2009)-carries with it harmonic and melodic implications which allow for the creation of a voice-leading model for this form. This paper examines how this model interacts with va…
Form and Voice Leading in Early Beatles Songs
In the early music of the Beatles, form, harmony, and voice leading are intricately related. The most common form of this period-AABA where each A section contains an SRDC (Statement-Restatement-Departure-Conclusion) phrase structure as defined by Walter Everett (2001 and 2009)-carries with it harmonic and melodic implications which allow for the creation of a voice-leading model for this form. This paper examines how this model interacts with va…
Interval Permutations
This paper presents a framework for analyzing the interval structure of pitch-class segments (ordered pitch-class sets). An “interval permutation” is a reordering of the intervals that arise between adjacent members of these pitch-class segments. Because pitch-class segments related by interval permutation are not necessarily members of the same set-class, this theory has the capability to demonstrate aurally significant relationships between set…
Choruses
This chapter looks at rock’s most expressively significant section: the chorus. The chapter argues that rock’s choruses divide into three general types, differentiated by their harmonic profiles but with distinct lyrical, thematic, and expressive features. Sectional choruses have complete harmonic and thematic structures and are relatively autonomous and separate from the verse; continuation choruses begin off-tonic and combine with the preceding…
Form as Harmony in Rock Music
This book offers a theory of form aimed at rock and pop songs of the 1960s, 1970s, and 1980s. The core claim is that rock form derives from the interaction between thematic design and harmonic structure. Many aspects of a rock song—lyrical structure, instrumental texture, melodic design, etc.—ultimately trace back to the relationship between harmonic trajectory and formal layout. The book begins with a theory of rock harmony rooted in an adaptati…
Teleology in Verse-Prechorus-Chorus Form, 1965-2020
This article traces a stylistic history of verse-prechorus-chorus form from its inception in mid-1960s rock 'n' roll through the EDM-infused pop of the 2010s. The central argument is that across its various presentations, verse-prechorus-chorus form is based on a consistent teleological structure, which I term thetelos principle. I chronicle this form's history through three style periods: I begin with the 1960s through '80s, over which time vers…
Alanis Morissette's Voices
Combining the slick production of post-grunge rock with raw, feminist lyrics reminiscent of Riot Grrrl punk, Alanis Morissette's 1995 albumJagged Little Pillintroduced a new rock femininity that rippled throughout the late 1990s. As several commentators have discussed, though, Morissette's pop-critical reception as the quintessential "angry white female" overlooks the broad range of social and emotional content presented throughout the album. Thi…
Art (4 works) · Literature (4 works) · Music History and Culture (4 works) · Computer Science (3 works) · Linguistics (3 works) · Music Technology and Sound Studies (3 works) · Musicology and Musical Analysis (3 works) · Neuroscience and Music Perception (3 works) · Visual arts (3 works) · Aesthetics (2 works)