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David Temperley's book, "The Musical Language of Rock," explores the conventions and language of rock music. Temperley argues that experienced rock listeners unconsciously understand these conventions and can detect deviations from them. The book combines theory and analysis, using musical examples to develop theoretical models. Temperley examines various aspects of rock music, including harmony, emotion, complexity, melody, rhythm, and form. He also considers the historical development of rock and its formal functions. The book offers new insights and perspectives on the musical language of rock. [Extracted from the article]

7 Hasty, Christopher F., 1999: ' Just in Time for More Dichotomies: a Hasty Response ', Music Theory Spectrum, 21/ii, pp. 275 - 93. 8 Husserl, Edmund, 1970: The Crisis of European Sciences and Transcendental Phenomenology: an Introduction to Phenomenological Philosophy, trans. David Carr (Chicago: Northwestern University Press). 9 London, Justin, 1999: ' Hasty's Dichotomy ', Music Theory Spectrum, 21/ii, pp. 260 - 74. 10 London, Justin, [ 2004 ] 2012: Hearing in Time: Psychological Aspects of Musical Meter, 2nd rev. edn (Oxford and New York: Oxford University Press). The animating claim of Christopher Hasty's I Meter as Rhythm i is that meter is a phenomenon which is produced as it goes along. [Extracted from the article]

10 Hasty, Christopher, 2020: Meter as Rhythm, 20th anniversary edition (Oxford and New York: Oxford University Press). In my work on musical interaction in jazz improvisation (Michaelsen [14] and [15]), I have grappled with the nature of the connections occurring between musicians in what Chris Stover ([17]) calls the "improvisational moment".[1] By what process can I propose a hearing of the relationships that emerge from a moment of interaction? Hasty considers numerous contexts, from a single sound's becoming to the projective play of many sounds over longer time spans, but he always foregrounds the I experience i of those sounds at precise moments in time. [Extracted from the article]

Footnotes 1 The challenge extends well beyond Hepokoski and Darcy's sonata types or MC defaults. If these compositions are part of Hepokoski and Darcy's corpus, then we have to assume that including them does not change the models for which sonata theory advocates. One of the most significant achievements of James Hepokoski and Warren Darcy's I Elements of Sonata Theory i (2006) is its reduction of the vast diversity of sonata practice to five overarching types. In all, sonata theory's typology allows us to survey the wide domain of sonata practices with fresh clarity. [Extracted from the article]