This article analyzes the pitch language of Tune-Yards. Like many of its peers, Tune-Yards uses chromaticism to differentiate itself from the mainstream. Unlike its fellow post-millennial experimental pop bands, however, Tune-Yards primarily favors loop-derived compositional techniques that generate chromatic clashes between two or more musical layers. Tune-Yards is also noteworthy for the pervasiveness and variety of chromatic clashes throughout its recorded catalog. This essay presents three of Tune-Yards’ layer-based compositional techniques — Caught in the Looper, Chromatically Inflected Melody, and Accompaniment-Derived Chromaticism — and examines the ways in which they interact with intonation, timbre, lyrics, and form. Volume 25, Number 3, November 2019 Copyright © 2019 Society for Music Theory

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写错笔记

本文分析了 Tune-Yards 的音高语言。像许多同行一样，Tune-Yards 使用色彩主义来将自己与主流区分开来。然而，与其他后千禧年实验流行乐队不同，Tune-Yards 主要支持循环派生的作曲技术，在两个或多个音乐层之间产生半音冲突。Tune-Yards 还因其在其记录目录中普遍存在的各种色彩冲突而值得注意。本文介绍了 Tune-Yards 的三种基于层次的作曲技巧——Caught in the Looper、Chromatically Inflected Melody 和 Accompaniment-Derived Chromaticism——并研究了它们与语调、音色、歌词和形式相互作用的方式。第 25 卷，第 3 期，2019 年 11 月 版权所有 © 2019 音乐理论协会