A central concern for theories of form in pop/rock music is the division of a song into sections and, consequently, the categorization of these sections according to a standard set of section labels. Psychological research on categorization shows that it is inherently a perceptual process, one that involves graded membership and fuzzy boundaries. Thus in contrast to prior theorists, who often a2empt to minimize ambiguity in the analysis of form in pop/rock music, I confront ambiguity directly, organizing and describing many of the common types encountered. I focus exclusively on the time period 1982–1991, when verse-chorus form can be considered to have achieved widespread currency. After providing an illustrative exemplar, I discuss three types of ambiguity common to this decade, each based on the main section role involved: 1) verse ambiguity, which typically derives from weak section differentiation; 2) chorus ambiguity, which usually involves a blend of more than one section role; and 3) bridge ambiguity, which often results from different hierarchical meanings of the bridge label. Volume 23, Number 3, September 2017 Copyright © 2017 Society for Music Theory

中文翻译：

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1982–1991 流行/摇滚音乐形式分析中的歧义

流行/摇滚音乐形式理论的一个核心问题是将一首歌曲分成几个部分，因此，根据一组标准的部分标签对这些部分进行分类。对分类的心理学研究表明，它本质上是一种感知过程，涉及分级隶属关系和模糊边界。因此，与先前的理论家相比，他们经常试图在流行/摇滚音乐的形式分析中尽量减少歧义，我直接面对歧义，组织和描述遇到的许多常见类型。我只关注 1982 年至 1991 年的时间段，当时可以认为合唱形式已经广泛流行。在提供一个说明性的例子之后，我讨论了这十年中常见的三种歧义，每一种都基于所涉及的主要部分角色：1）诗句歧义，这通常源自弱截面分化；2) 合唱歧义，通常涉及多个部分角色的混合；和 3) 桥的歧义，这通常是由桥标签的不同层次含义引起的。第 23 卷，第 3 期，2017 年 9 月 版权所有 © 2017 音乐理论协会