DavidTemperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522.ChristopherDoll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528.DrewNobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368.

Music AnalysisEarly View CRITICAL FORUM David Temperley, The Musical Language of Rock (Oxford and New York: Oxford University Press, 2018). xv + 292 pp. £31.49 (pb.). ISBN 9780190870522. Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017). x + 320 pp. $39.95 (pb.). ISBN 9780472073528. Drew Nobile, Form as Harmony in Rock Music (Oxford and New York: Oxford University Press, 2020). 268 pp. £25.49 (pb.). ISBN 9780190948368. Kenneth Smith, Kenneth SmithSearch for more papers by this author Kenneth Smith, Kenneth SmithSearch for more papers by this author First published: 16 August 2023 https://doi.org/10.1111/musa.12216Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat REFERENCES Berlyne, Daniel E., 1971: Aesthetics and Psychobiology (New York: Appleton-Century-Crofts). Capuzzo, Guy, 2004: ‘ Neo-Riemannian Theory and the Analysis of Pop-Rock Music’, Music Theory Spectrum, 26/ii, pp. 177–200. Covach, John, 2005: ‘ Form in Rock Music: a Primer’, in Deborah Stein (ed.), Engaging Music: Essays in Musical Analysis (Oxford and New York: Oxford University Press), pp. 65–76. de Clercq, Trevor, 2012: ‘ Sections and Successions in Successful Songs: a Prototype Approach to Form in Rock Music’ (PhD diss., University of Rochester). de Clercq, Trevor, 2017: ‘ Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991’, Music Theory Online, 23/iii, https://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.de_clercq.html, accessed 20 February 2023. Everett, Walter, 2004: ‘Making Sense of Rock's Tonal Systems’, Music Theory Online, 10/iv. Everett, Walter, 2009: The Foundations of Rock: From ‘Blue Suede Shoes’ to ‘Suite: Judy Blue Eyes’ (Oxford and New York: Oxford University Press). Harrison, Daniel, 1994: Harmonic Function in Chromatic Music: a Renewed Dualist Theory and an Account of Its Precedents (Chicago: University of Chicago Press). Hepokoski, James, and Darcy, Warren, 2006: Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford and New York: Oxford University Press). Meyer, Leonard B., 1957: ‘Meaning in Music and Information Theory’, Journal of Aesthetics and Art Criticism, 15/iv, pp. 412–24. Moore, Allan, 1995: ‘The So-Called “Flattened Seventh” in Rock’, Popular Music, 14, pp. 185–201. Reger, Max, 1948: Neues Max-Reger-Brevier (Basel: Amerbach). Russell, James A., 1980: ‘A Circumplex Model of Affect’, Journal of Personality and Social Psychology, 39/vi, pp. 1161–78. Summach, Jay, 2012: ‘ Form in Top-20 Rock Music, 1955–89’ (PhD diss., Yale University). Tagg, Philip, 1982: ‘Analysing Popular Music: Theory, Method and Practice’, Popular Music, 2, pp. 37–65. Tagg, Philip, 2014: Everyday Tonality II: Towards a Tonal Theory of What Most People Hear (Oxford and New York: Mass Media Music Scholars’ Press). Temperley, David, 2000: ‘The Line of Fifths’, Music Analysis, 19/iii, pp. 289–319. Temperley, David, 2007: Music and Probability (Cambridge, MA: MIT Press). Temperley, David, and de Clercq, Trevor, n.d.: A Corpus Study of Rock Music, http://rockcorpus.midside.com, accessed 20 February 2023. Temperley, David, and Tan, Daphne, 2013: ‘Emotional Connotations of Diatonic Modes’, Music Perception, 30/iii, pp. 237–57. Early ViewOnline Version of Record before inclusion in an issue ReferencesRelatedInformation