藝術教育研究期刊
RESEARCH IN ARTS EDUCATION

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This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

This article investigates Billy Joel’s chromatic excursions in his contemplative songs, many of which infuse modal mixture chromaticism against a prevailing major key backdrop. In particular, I spotlight Joel’s exploration of “enharmonic duplicity,” in which chromaticism reflects the complexity of human nature through enharmonic transformations. Part 1 explores enharmonicism in “Honesty,” the first of several analyzed B major songs that reinterpret mixture scale degrees (3ˆ3̂ and 6ˆ6ˆ) along its route; I also consider how Joel introduces mixture in his opening descending bass lines. Part 2 explores the harmonic and functional ambiguity in the complex song, “Laura.” Part 3 considers the enharmonic complexities of “Vienna” through the lens of the opening bar’s augmented triad; I also consider comparative examples of augmented triads in “Zanzibar” and “Where’s the Orchestra?”. In response to Joel’s vast exposure to the common-practice canon, my approach fuses perspectives from nineteenth-century music with contemporary theories of pop/rock harmony.

Agawu, Kofi. 1994. “Ambiguity in Tonal Music: A Preliminary Study.” In Theory, Analysis, and Meaning in Music, ed. Anthony Pople, 86–107. Cambridge University Press.

Agawu, Kofi. 1994. “Ambiguity in Tonal Music: A Preliminary Study.” In Theory, Analysis, and Meaning in Music, ed. Anthony Pople, 86–107. Cambridge University Press.