Uploaded August 2019 | Updated September 2026, 1 day ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Can Harmonic Techniques Common In UK Singles Chart Music Of The 1980s Be Successfully Used In Music Targetting Today’s UK Singles Chart?
Jim Mason - University of Chester
E-mail Address: j.mason@chester.ac.uk
/// ABSTRACT
A notable aspect of a significant proportion of music in the UK singles chart in the 1980s was its harmonic complexity. Many hit singles utilised devices such as pivot-chord modulations, modal interchanges, inversions, suspensions, pedal bass, chord extensions and a wide variety of different chord progressions to increase the potential for originality and stimulate listeners’ emotions in complex ways. As examined by Serra, Corral, Boguna, Haro and Arcos (2012), popular music has since become simpler – this is also specifically the case when comparing music in the UK singles chart in the 1980s with that in the 2010s. Most UK singles chart music in recent years is harmonically conservative, often using the most “tried and tested” chord progressions, coupled with a lack of harmonic ambition, and relying on non-harmonic factors to differentiate itself from other work. Would music produced in today’s styles using the 1980s harmonic techniques discussed make the music more appealing and increase the chances of its commercial success, or would adding harmonic complexity detract from the work in a way its audience would find unappealing? The researcher / practitioner attempts to answer the question through creation of music products, which combine the harmonic techniques discussed with modern production and composition styles, and responses to the work.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Can Harmonic Techniques Common In UK Singles Chart Music Of The 1980s Be Successfully Used In Music Targetting Today’s UK Singles Chart?
Jim Mason - University of Chester
E-mail Address: j.mason@chester.ac.uk
/// ABSTRACT
A notable aspect of a significant proportion of music in the UK singles chart in the 1980s was its harmonic complexity. Many hit singles utilised devices such as pivot-chord modulations, modal interchanges, inversions, suspensions, pedal bass, chord extensions and a wide variety of different chord progressions to increase the potential for originality and stimulate listeners’ emotions in complex ways. As examined by Serra, Corral, Boguna, Haro and Arcos (2012), popular music has since become simpler – this is also specifically the case when comparing music in the UK singles chart in the 1980s with that in the 2010s. Most UK singles chart music in recent years is harmonically conservative, often using the most “tried and tested” chord progressions, coupled with a lack of harmonic ambition, and relying on non-harmonic factors to differentiate itself from other work. Would music produced in today’s styles using the 1980s harmonic techniques discussed make the music more appealing and increase the chances of its commercial success, or would adding harmonic complexity detract from the work in a way its audience would find unappealing? The researcher / practitioner attempts to answer the question through creation of music products, which combine the harmonic techniques discussed with modern production and composition styles, and responses to the work.
