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引用次数: 1
摘要
在这篇文章中，我提出了两种广泛的后喜剧类型，这两种类型是根据结尾材料的修辞作用以及在合唱和后喜剧过程中集结和高潮的特殊位置而确定的。codetta类型的后合唱是一个独立的音乐部分，以合唱结束后的结束材料为特色。国歌类型的后合唱是一个独立的音乐高潮部分，跟随建筑合唱。在这项研究中，对2010年至2015年的1335首40强歌曲进行了调查。在这些歌曲中，13.3%的歌曲带有后和弦。本文讨论的例子包括Katy Perry（2013）的《咆哮》、Carrie Underwood（2010）的《撤消它》、LMFAO（2011）的《派对摇滚圣歌》、Calvin Harris ft的《我需要你的爱》、Ellie Goulding（2012）的《La La La》、Naughty Boy ft的Sam Smith（2013）和Maroon 5的《动物》（2014）。
Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015
In this article, I present two broad types of postchoruses determined according to the rhetorical role of closing material and the particular placement of buildup and climax over the course of the chorus and postchorus. The codetta-type postchorus is characterized as an independent section of music featuring closing material that follows the attainment of closure in the chorus. The anthem-type postchorus is an independent and climactic section of music that follows a building chorus. For this study, 1335 Top-40 songs from 2010 to 2015 were surveyed. Of these songs, 13.3% had a postchorus. Examples discussed in this article include “Roar” by Katy Perry (2013), “Undo It” by Carrie Underwood (2010), “Party Rock Anthem” by LMFAO (2011), “I Need Your Love” by Calvin Harris ft. Ellie Goulding (2012), “La La La” by Naughty Boy ft. Sam Smith (2013), and “Animals” by Maroon 5 (2014).
期刊介绍：
Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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