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(Ac)cumulative Form in Pop-Rock Music


This article examines a variety of compositional procedures that give rise to what the author defines as ‘accumulative’ and ‘cumulative’ forms in pop-rock music, formal processes which are directly linked to the rapid advances in recording technology that occurred mainly from the late 1960s to the 1980s. The article includes detailed transcriptions and analyses of pop-rock music across a wide range of styles and genres, from progressive rock to post-punk to techno.

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Earlier versions of portions of this article were presented at the Annual Meeting of the Society for Music Theory, Chapel Hill, NC, in December 1998, and to the Music Forum lecture series, City University of New York Graduate Center, in December 2001. I wish to thank Allen Forte, Walter Everett, John Covach, and the anonymous readers for this journal for their advice and criticism on earlier drafts.
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Twentieth-Century Music
  • ISSN: 1478-5722
  • EISSN: 1478-5730
  • URL: /core/journals/twentieth-century-music
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