Chapter 4 focuses on AABA form, Chapter 5 on verse–prechorus–chorus, and Chapter 6 on verse–chorus forms.
This chapter outlines three types of melodic-harmonic divorce: “hierarchy divorce,” “rotation divorce,” and “syntax divorce.” Part II of the dissertation aims to devise voice-leading models for full song forms. Chapter 3, “The Melodic-Harmonic Divorce,” explores contrapuntal paradigms in which the domains of melody and harmony seem to be operating independently. In this conception, chords other than V, such as IV, II, ♭VII, or even some versions of I, can often be said to function syntactically as the dominant. Chapter 2, “Harmonic Syntax,” advocates for a conception of harmonic function based on syntax and form rather than the identity of specific chords. Part I of the dissertation focuses on harmonic and melodic theory.
A central claim is that voice-leading structure is intimately related to formal structure such that the two domains are mutually informing. In particular, it investigates ways in which the standard conceptions of voice leading, harmonic function, and counterpoint may be updated to better apply to this new repertoire. This dissertation situates itself in the middle of an ongoing debate about the applicability of Schenkerian analytical techniques to the analysis of pop and rock music.
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