Is it possible to encapsulate the manifold and diverse idioms of a musical style, or even of multiple musical styles, by a single principle? Regarding tonal western musical styles, including both classical and popular means of expression, this presentation proposes an answer to this question using a principle borrowed from economics: optimizations of, and tradeoffs among, mutually incompatible goals. When these goals are melodic smoothness and harmonic consonance, this principle provides explanations for numerous distinct stylistic conventions found in western music of the last 400 years. These conventions include general preferences like those for diatonic and chromatic scales, major/minor tonality, and four parts over three and five; they also include specific locutions such as applied chords and Neapolitan sixths, which are typically associated with classical styles, and axis progressions and gospel-based voice leading, which are typically associated with popular styles.

Scott Murphy is a professor of music theory at the University of Kansas. Among his publications are two areas of focus: the music of Brahms, and screen-media music. Two publications within the former won awards from the Society of Music Theory in 2009 and 2019. Ten essays in the latter have established him as an important thinker about music for recent film and television. His other publications range from studies of strict contrapuntal techniques in the music of Buxtehude, J.S. Bach, and Clara Schumann, to generalizations about Barók’s imversions, Myaskovsky’s harmonies, and Penderecki’s melodies.