Codetta and Anthem Postchorus Types in Top-40 Pop from 2010–2015
Main Article Content
Abstract
In this article, I present two broad types of postchoruses determined according to the rhetorical role of closing material and the particular placement of buildup and climax over the course of the chorus and postchorus. The codetta-type postchorus is characterized as an independent section of music featuring closing material that follows the attainment of closure in the chorus. The anthem-type postchorus is an independent and climactic section of music that follows a building chorus. For this study, 1335 Top-40 songs from 2010–2015 were surveyed. Of these songs, 13.3% had a postchorus. Examples discussed in this article include “Roar” by Katy Perry (2013), “Undo It” by Carrie Underwood (2010), “Party Rock Anthem” by LMFAO (2011), “I Need Your Love” by Calvin Harris ft. Ellie Goulding (2012), “La La La” by Naughty Boy ft. Sam Smith (2013), and “Animals” by Maroon 5 (2014).
Article Details
Copyright © 2019 by the Society for Music Theory. All rights reserved.
[1] Copyrights for individual items published in Music Theory Online (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.
[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
This document and all portions thereof are protected by U.S. and international copyright laws. Material contained herein may be copied and/or distributed for research purposes only.