Publications of Nicholas Stoia    :chronological  alphabetical  by type listing:

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@book{fds355130,
   Author = {Stoia, N},
   Title = {Sweet thing: The history and musical structure of a shared
             american vernacular form},
   Pages = {1-266},
   Publisher = {Oxford University Press, USA},
   Year = {2021},
   Month = {January},
   ISBN = {9780190881993},
   url = {http://dx.doi.org/10.1093/oso/9780190881979.001.0001},
   Abstract = {Sweet Thing: The History and Musical Structure of a Shared
             American Vernacular Form is a historical and analytical
             study of one of the most productive and enduring shared
             musical resources in North American vernacular music. Many
             of us learn the form as children, when we sing "If you're
             happy and you know it clap your hands," and we hear it
             frequently in popular music, but usually without realizing
             that this poetic and rhythmic pattern has been penetrating
             the minds of musicians and listeners for centuries. The
             antecedents of the form date back to sixteenth-century
             Scotland and England, and appear in seventeenth-century
             English popular music; eighteenth-century English and
             American broadside balladry; nineteenth-century American
             folk hymnody, popular song, gospel hymnody, and ragtime; and
             American folk repertoire collected in the early twentieth
             century. It continued to generate many songs in early
             twentieth-century popular genres, including blues, country,
             and gospel music, through which it entered into many postwar
             popular genres like rhythm and blues, rock and roll, soul,
             country pop, the folk revival, and rock music. This book
             offers the most comprehensive examination to date of the
             centuries-long history of the scheme, and defines its
             musical parameters in twentieth-century popular
             music.},
   Doi = {10.1093/oso/9780190881979.001.0001},
   Key = {fds355130}
}

@article{fds355120,
   Author = {Stoia, N},
   Title = {Blues Lyric Formulas in Early Country Music, Rhythm and
             Blues, and Rock and Roll},
   Journal = {Music Theory Online},
   Volume = {26},
   Number = {4},
   Publisher = {Society for Music Theory},
   Year = {2020},
   Month = {December},
   url = {http://dx.doi.org/10.30535/mto.26.4.8},
   Abstract = {<jats:p>This article briefly recounts recent work
             identifying the most common lyric formulas in early blues
             and then demonstrates the prevalence of these formulas in
             early country music, rhythm and blues, and rock and roll.
             The study shows how the preference for certain formulas in
             prewar country music—like the preference for the same
             formulas in prewar blues—reflects the social instability
             of the time, and how the de-emphasis of these same formulas
             in rhythm and blues and rock and roll reflects the relative
             affluence of the early postwar period. This shift in textual
             content is the lyrical counterpart to the electrification,
             urbanization, and growing formal complexity that mark the
             transformation of prewar blues and country music into
             postwar rhythm and blues and rock and roll.</jats:p>},
   Doi = {10.30535/mto.26.4.8},
   Key = {fds355120}
}

@article{fds349052,
   Author = {Stoia, N},
   Title = {The Tour-of-Keys Model and the Prolongational Structure in
             Sonata-Form Movements by Haydn and Mozart},
   Journal = {Journal of Schenkerian Studies},
   Volume = {12},
   Pages = {79-123},
   Year = {2019},
   Key = {fds349052}
}

@article{fds323612,
   Author = {Stoia, N and Adams, K and Drakulich, K},
   Title = {Rap Lyrics as Evidence: What Can Music Theory Tell
             Us?},
   Journal = {Race and Justice},
   Year = {2017},
   Month = {January},
   Abstract = {Recent scholarship has shed light on the troubling use of
             rap lyrics in criminal trials. Prosecutors have interpreted
             defendants’ rap lyrics as accurate descriptions of past
             behavior or in some cases as real threats of violence. There
             are at least two problems with this practice: One concerns
             the interpretation of art in a legalistic context and the
             second involves the targeting of rap over other genres and
             the role of racism therein. The goal of the present work is
             translational, to demonstrate the relevance of music
             scholarship on this topic to criminologists and legal
             experts. We highlight the usage of lyric formulas, stock
             lyrical topics understood by musicians and their audiences,
             many of which make sense only in the context of a given
             genre. The popularity of particular lyric formulas at
             particular times appears connected to contemporaneous social
             conditions. In African American music, these formulas have a
             long history, from blues, through rock and roll, to
             contemporary rap music. The work illustrates this through
             textual analyses of lyrics identifying common formulas and
             connecting them to relevant social factors, in order to
             demonstrate that fictionalized accounts of violence form the
             stock-in-trade of rap and should not be interpreted
             literally.},
   Key = {fds323612}
}

@article{fds303565,
   Author = {Stoia, N},
   Title = {Triple Counterpoint and Six-Four Chords in J.S. Bach’s
             Sinfonia in F Minor},
   Journal = {Music Analysis},
   Volume = {34},
   Number = {3},
   Pages = {305-334},
   Publisher = {WILEY},
   Year = {2015},
   Month = {October},
   url = {http://dx.doi.org/10.1111/musa.12041},
   Doi = {10.1111/musa.12041},
   Key = {fds303565}
}

@article{fds303564,
   Author = {Stoia, N},
   Title = {The Common Stock of Schemes in Early Blues and Country
             Music},
   Journal = {Music Theory Spectrum},
   Volume = {35},
   Number = {2},
   Pages = {194-234},
   Publisher = {Oxford University Press (OUP)},
   Year = {2013},
   url = {http://dx.doi.org/10.1525/mts.2013.35.2.194},
   Doi = {10.1525/mts.2013.35.2.194},
   Key = {fds303564}
}

@article{fds303563,
   Author = {Stoia, N},
   Title = {Mode, Harmony, and Dissonance Treatment in American Folk and
             Popular Music, c. 1920-1945},
   Journal = {Music Theory Online},
   Volume = {16},
   Number = {3},
   Publisher = {Society for Music Theory},
   Year = {2010},
   Month = {August},
   Abstract = {In American folk and popular music, dissonance frequently
             functions in ways that cannot be explained by conventional
             tonal theory. Two types of dissonance—the dropping and
             hanging thirds—function outside of classical norms, and
             within the framework of a mode built around the tonic triad
             that either transposes or remains in place with changes of
             harmony. The interaction between the mode and harmony
             influences the large-scale structure of a strophe or other
             section and the perception of its tension and
             resolution.},
   Key = {fds303563}
}