Signe Hansen

“SOULMUUSIKA HARMOONIA ARENGUTENDENTSID 1950.-1980. AASTATEL BILLBOARDI R&B EDETABELILUGUDE NÄITEL” (juhendaja Themuri Sulamanidze, MA; kaasjuhendaja Vilho Meier, MA).

LÜHIÜLEVAADE: Oma lõputöös ühendasin muusikateooretilise analüüsi ja matemaatilise statistika selgitamaks välja, kui palju esineb 1950-1980ndate aastate soulmuusikas mingi astme akorde ning millised akordijärgnevused korduvad enim. Selleks transkribeerisin käsitsi 79 lugu ja saadud tulemused esitasin protsentuaalselt tabelites. Lähtusin sellest, et igale muusikastiilile on iseloomulikud mingid kindlad harmoonilised struktuurid ja sellest tulenevalt võiks minu töö tulemused aidata laulukirjutajatel saavutada soulmuusika kõla. Samuti töötasin koostöös oma kaasjuhendajaga välja uudse matemaatilise valemi, millega andsime igale loole nn keerukusindeksi. Selle tulemusi kajastavast graafikust võis välja lugeda, et lood läksid kümnendite jooksul harmooniliselt järjest keerukamaks.

Signe Hansen
Lõputöö autor
TÜ Viljandi Kultuuriakadeemia

LÄBITUD ÕPPEKAVA: koolimuusika õppekava.

ESTER DSpace

SUMMARY: The subject of my Bachelor´s thesis was „The Development of Soul Music Harmony during 1950s-1980s on Example of Songs from Billboard R&B Chart“

Every style of music has some distinctive chords and chord progressions, which occure more often than others and thus give a recognizable sound to the style. In this thesis I researched which chords and chord progressions are characteristic to soul music and which changes arose in harmony during 1950s to 1980s. Harmonic analysis for chosen Billboard R&B chart songs confirmed that, indeed, in soul music some chords appear more often than others and decades slightly differ from the harmonic point of view. As the 50s were mostly based on blues harmony and songs were harmonically quite simple, then from the 60s secondary dominant chords were used more often, especially resolving to IV, V, VI and III chords and harmonic motion between I-IV and IV-I was practiced a lot. 70s continued in the same direction, but with even more nonediatonic chords – secondary dominants such as II7, VI7, bIII7 and modal interchanges like bVI∆ and IVm7. 80s were harmonically most sophisticated decade. Both modal interchanges and secondary dominants were used a lot. There occured chords constructed from almost every tone of the scale, chromatic tones included. Most popular were bIII7, IVm7, VII7 and bVII7.

These conclusions can be used by songwriters in their work to write music being more aware of theory and to gain more authentic soul music sound.