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1、Volume17,Number3,October2011Copyright©2011SocietyforMusicTheoryGuitarVoicinginPop-RockMusic:APerformance-BasedAnalyticalApproachTimothyKoozinNOTE:Theexamplesforthe(text-only)PDFversionofthisitemareavailableonlineat:http://www.mtosmt.org/issues/mto.11.17.3/mto
2、.11.17.3.koozin.phpKEYWORDS:guitartablature,imageschema,gesture,neo-Riemanniantheory,Tonnetz,barrechord,Kinks,RollingStones,JimiHendrix,NeilYoung,TomPetty,GratefulDeadABSTRACT:Thisstudyintegratesguitartablatureandharmonictransformationaltheorytomaptransformat
3、ionalpathsofmotionthroughfretboardlocationsontheguitar.Afocusonpatternsofphysicalmotioninguitarperformancerevealshowchordsandfigurationscharacteristicofpop-rockmusiccanbeunderstoodasinstancesofmoregeneralizedhandpositionshapesandmotionsindexedtointervallicdis
4、tancesonthefretboard.The“fret-intervaltype”isintroducedasageneralizedexpressionoffretboardhandpositioninformation.Coordinatingfretboardlocationwithharmonictransformationprovidesinformationaboutthephysicalactionsthatmovethroughpitchvoicingsandhandpositions,for
5、mingspecificembodimentsoftransformationthatmayprojectexpressivemeaningthroughcorrelationswithfundamentalbody-derivedimageschemapatterns.Genresofchordvoicingandtheirharmonicnetworksarerelatedtoidiomaticactionsofguitarplayingasameanstoexplorechordpatterning,rif
6、fstructure,morecomplexchords,andalternatetuning.Examplesfromarangeofpop-rockrepertoiresillustratehowguitarvoicingroutinescanmigrateacrossthefullrangeoftheguitartoprojectlarge-scaleharmonicrelationships,contributingtomusicalformwhiledynamicallyshapingcontextsf
7、orvocalexpressioninsongs.Guitarvoicingsarealsoexploredasagentsofculturalmeaningthatmaycombinetoformstylistictropeswithinsongs,projectingawebofculturalreferencesandassociations.ReceivedFebruary2011Introduction[1]Guitarfretboardtopographyandtherhythmicactionsof
8、guitarplayingaresignificantperformativeelementsthathavenotbeenfullyconsideredinstudiesofform,harmony,andrhythminpop-rockmusic.Thisstudypresentsanapproachthatintegratesguitartablatureandha
