PL Voice Leading and the Uncanny in Pop Music

Author:

Forrest David L.1

Affiliation:

1. Texas Tech University

Abstract

Chromatic, major-third root movement comprises a special class of triadic progression. The contrary motion of half steps, described as PL voice leading, produces a perceptual paradox that simultaneously destroys any sense of background diatonic collection and forces irreconcilable interpretations of consonance and dissonance. Richard Cohn, Richard Taruskin, Matthew Bribitzer-Stull, and Scott Murphy identify examples from 19th-century music and film scores that connect this type of progression with descriptions of uncanny or supernatural phenomena. This article explores the same association in contemporary pop music. Surveying a wide variety of songs from 1956–2016, I examine different tonal and formal contexts in which this phenomenon occurs and provide hermeneutic readings where the association between lyrics and harmony is less obvious. While not every PL/LP transformation evokes an uncanny experience, when the transformations are used conspicuously between adjacent or framing harmonies, the pervasive associations with the uncanny, across sub-genre and generational lines, are hard to ignore.

Publisher

Society for Music Theory

Subject

Music

Reference50 articles.

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3. Belting, Hans. 2012.Hieronymus Bosch: Garden of Earthly Delights. Prestel.

4. Biamonte, Nicole. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.”Music Theory Spectrum32 (2): 95–110.

5. Bribitzer-Stull, Matthew. 2012. “From Nibelheim to Hollywood: The Associativity of Harmonic Progression.” InThe Legacy of Richard Wagner, edited by Luca Sala, 157–84. Brepols Publishers.

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