Abstract:This paper responds to the research presented in Léveillé Gauvin's paper on the evolution of harmonic syntax in popular music from the 1960s. I begin by situating the findings from his second study (on flat-side harmonies) within the context of my corpus work with David Temperley on harmony in popular music. Léveillé Gauvin's results are similar to ours, although some important differences are worth noting. I also provide an interpretation of the results from his first study (on modulation), which Léveillé Gau… Show more
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