[1] The idea that harmony in contemporary Anglo-American popular music operates via a system (or systems) fundamentally distinct from common-practice tonality has been around for a while (Moore 1992; Stephenson 2002; Everett 2004) and has spurred scholars to retool traditional analytical techniques (Burns 2008; Capuzzo 2009; Nobile 2014). But what if we were to build a theory of harmony for popular music without starting from centuries-old concepts developed for common-practice-era European art music? The question is purely rhetorical, of course; the very notion of “harmony” in popular music is itself an inherited construct. Nonetheless, it is this goal—to “derive a tonal theory out of rock” (7) instead of jumping into it from classical tonality—that guides Christopher Doll in his new book, even if (as Doll admits) we can never fully shed our theoretical predispositions.

中文翻译：

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Christopher Doll 的评论，听力和谐：走向摇滚时代的音调理论（密歇根大学出版社，2017 年）

[1] 当代英美流行音乐中的和声是通过一个（或多个）系统来运作的观点与普遍实践的音调根本不同，这一观点已经存在了一段时间（Moore 1992；Stephenson 2002；Everett 2004）并促使学者们改造传统分析技术（Burns 2008；Capuzzo 2009；Nobile 2014）。但是，如果我们不从为普遍实践时代的欧洲艺术音乐发展起来的数百年前的概念出发，为流行音乐建立一种和谐理论呢？当然，这个问题纯粹是修辞性的。流行音乐中“和声”的概念本身就是一种继承的结构。尽管如此，正是这个目标——“从摇滚中推导出调性理论”（7）而不是从古典调性中跳出来——引导克里斯托弗·多尔在他的新书中，