<div>Hi Scott,</div>
<div> </div>
<div>I don't think there's much out there. The last section ("diatonic vertical dissonances") of this dissertation is worth a look:</div>
<div>Lilja, Esa. "Characteristics of Heavy Metal Chord Structures." University of Helsinki, 2004.</div>
<div><a href="http://ethesis.helsinki.fi/julkaisut/hum/taite/lt/lilja/characte.pdf">http://ethesis.helsinki.fi/julkaisut/hum/taite/lt/lilja/characte.pdf</a></div>
<div><br>All best,</div>
<div>Nicole Biamonte</div>
<div>McGill University</div>
<div><a href="mailto:nicole.biamonte@mcgill.ca">nicole.biamonte@mcgill.ca</a><br></div>
<div>-------------------------------------------------------------------------------------------------------------------------</div>
<div class="gmail_quote">On Fri, Dec 9, 2011 at 2:49 PM, Murphy, Scott Brandon <span dir="ltr"><<a href="mailto:smurphy@ku.edu">smurphy@ku.edu</a>></span> wrote:<br>
<blockquote style="BORDER-LEFT:#ccc 1px solid;MARGIN:0px 0px 0px 0.8ex;PADDING-LEFT:1ex" class="gmail_quote">I would like to point a student of mine toward any published research on recurrent, or even "signature," chords in heavy metal or punk rock music that are (arguably) better designated with set-class labels (e.g. 0156, which, for example, is the best Forte set name I can think to give to the beginning of Dillinger Four's "Noble Stabbings") than with root-based tertian labels. I've come up with little to nothing in my preliminary bibliographic digging, although, since I'm not as familiar with this field of study as with others, I may be digging in the wrong places. Any ideas, o wise collective?<br>
<br>Thank you in advance,<br><br>-Scott<br><font color="#888888"><br>--<br>Scott Murphy<br>Associate Professor, Music Theory<br>University of Kansas School of Music<br>President, Music Theory Midwest<br><a href="mailto:smurphy@ku.edu">smurphy@ku.edu</a><br>
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